Ballets Russes

Out of State is the unlikely story of native Hawaiians men discovering their native culture as prisoners in the desert of Arizona, 3,000 miles, and across the ocean, from their island home.

Materia oscura tells the story of a war zone in peacetime. The film location is the Salto di Quirra test range (Sardinia, Italy) where, for over fifty years, governments around the world have tested 'new weapons' and where the Italian government has carried out controlled explosions of old weapon stocks, inexorably endangering the territory.

« Traces, women's imprints » is a film that ventures to the discovery of three grandmothers kassenas (Burkina Faso,) their granddaughter, and the exclusively feminine art of this region's mural paintings. Between these women's portraits and a traditional art form, « Traces » is a painting on paintings that reflects upon transmission, education and memory in the context of a world in mutation.

After the Kyrgyzstan Independence in 1991, the ancient practice of Ala-Kachuu ("grab and run") returned. Some women escape the men that kidnap them, but many remain married because of tradition and the fear of scandal.

This short documentary describes the process and inspiration behind the creation and performance of a new Cuban ballet based on Afro-Cuban traditions and beliefs.

In 1999, Colorado mother Jessica Gonzales experienced every parent’s worst nightmare when her three young daughters were killed after being abducted by their father in violation of a domestic violence restraining order. Devastated, Jessica sued her local police department for failing to adequately enforce her domestic violence restraining order despite her repeated calls for help that night. Determined to make sure her daughters did not die in vain, Jessica pursues her case to the US Supreme Court and an international human rights tribunal, seeking to strengthen legal rights for domestic violence victims. Meanwhile, her relationship with her one surviving child, her son Jessie, suffers, as he struggles with the tragedy in his own way. Shot over the course of nine years, Home Truth chronicles one family’s incredible pursuit of justice, shedding light on how our society responds to domestic violence and how the trauma from domestic violence can linger through generations.

As the Syrian war continues to leave entire generations without education, health care, or a state, Lost in Lebanon closely follows four Syrians during their relocation process. The resilience of this Syrian community, which currently makes up one fifth of the population in Lebanon, is astoundingly clear as its members work hard to collaborate, share resources, and advocate for themselves in a new land. With the Syrian conflict continuing to push across borders, lives are becoming increasingly desperate due to the devastating consequences of new visa laws that the Lebanese government has implemented, leaving families at risk of arrest, detention, and deportation. Despite these obstacles, the film encourages us to look beyond the staggering statistics of displaced refugees and focus on the individuals themselves.

In 1947, two years after the end of the Second World War, Film Journal No. 1 was released in Sarajevo. Fifty years later, after the collapse of the Communist bloc, this newsreel was lost in the confusion of the fighting in Yugoslavia. In Journal No. 1 Hito Steyerl attempts to find out how the footage got lost and what was on this document from the Sutjeska studio. In the simultaneous projection of Journal No. 1 the ‘unattainability of an historical zero hour of the national identity’ takes concrete form: The lost newsreel reports on a literacy campaign as well as Muslim women confidently removing their headscarves. We listen however to eyewitnesses trying to recapture the lost content and we see the artist Arman Kulasic making a number of drawings that resemble the story-boards for the lost film. What appears to be moments of great change remain limited by subjective and uncertain memory. The film was premiered at documenta 12.

A pioneering film from Tunisia, Fatma 75 is the first non-fiction film by a Tunisian woman, a feminist essay film, and the first in a series of powerful films about strong female figures in the country. The film was made in the UN International Women's Year 1975, and has long been recognised as one of the most important films from North Africa, but has never officially been seen before due to censorship.

For almost 50 years, the world's population has grown at an alarming rate, raising fears about strains on the Earth's resources. But how true are these claims? Taking cues from statistics guru Hans Rosling, Misconception offers a provocative glimpse at how the world—and women in particular— are tackling a subject at once personal and global. Following three individuals, director Jessica Yu focuses on the human implications of this highly charged political issue, inspiring a fresh look at the consequences of population growth. In English, Hindi, Mandarin, and Russian with subtitles.

How to combine modernity and fundamentalist Islam. "Saudi Solutions" is a unique and revealing documentary about the lifestyles and attitudes of ambitious career womenin conservative Saudi Arabia - the only country in the Arabworld where women are obliged to cover themselves inabayas and aren't allowed to drive cars. Because of the strong influence of fundamentalist Islam on society, filmingis severely restricted in Saudi Arabia. With unique access to the Kingdom, Backlight had the opportunity to film the daily routines of Saudi working women. This documentaryfeatures a top gyneacologist, a TV news anchor woman, a photographer, and a university professor. It also introducesthe wealthy Prince Al-Waleed, who passionately promotes the acceptance of women into the workforce. He kindly invitesBacklight to his luxury desert camp, but there are no women to be found - only thousands of men.

A look at contemporary Paris through the lens of theories and ideologies of the past two centuries, with a particular focus on the utopian socialist ideas of Charles Fourier.

Good Grief is a short stop motion animated documentary that explores the lessons we learn from dealing with grief and loss. Five real people share their true stories of losing something precious and what it has taught them about living.

The film follows teenage girls Mairéad Mc Ilkenny and Christine Savage. The two young women live in the same city but at the same time in two different worlds, cut off from each other by high walls that separate people.

In the course of Alaide Foppa's life, she became a precursor of feminism in Mexico. She was an immigrant who, in her own way, tried to break the molds established by her upper-class upbringing. Her sensitivity and intellectual development made her question matters of social injustice, educational and gender inequalities, the importance of socially-committed art forms and the vindication of democracy throughout Latin America. Her tragic end reveals much about the history of Guatemala.

Lucy Daniels believes that a family secret told to her as a four year-old radically impacted the trajectory of her life, and set in motion a life-long debilitating mental illness. Born into a powerful newspaper-magnate family, from an early age Lucy defined her worth by her ability to write. Despite early success, she was struck with severe anorexia and underwent brutal treatment in mental institutions, only to survive, pen her first best-seller, and ultimately win a Guggenheim Prize in literature - all before the age of 22. The first of its kind, this hybrid documentary weaves together 'relational' recreations, animated dream sequences, constructed worlds and intimate interviews to tell a worthwhile story of survival and creativity, filtered through the eyes of filmmaker and subject.

Five acclaimed photographers travel the world to provide detailed insight into the difficult conditions faced by refugees who dream of a better life.

Ng Meixi returns to Singapore having spent time in Mexico working with low-performing students. She joins a local school as a relief teacher but takes on a mammoth task: to pilot a new pedagogy to help students in the Normal (Technical) stream learn better. She reconfigures the classroom from a teacher-directed one to a community that aims to empower students as learners and tutors to each other. Will this work in Singapore’s result-oriented education system?

French documentarist Sonia Kronlund follows actor and director Salim Shaheen, an Afghan movie star who produced more than 110 low-budget movies in a country devastated by war.

A short companion to Leviathan, set inside the fishing vessel.