Mexican Police on Parade

As was common in Diaz's Mexico, a young hacienda worker finds his betrothed imprisoned and his life threatened by his master for confronting a hacienda guest for raping the girl. This film is the first of several attempts to make a feature-length motion picture out of the 200,000-plus feet of film shot by Sergei Eisenstein, on photographic expedition in Mexico during 1931-32 for Upton Sinclair and a cadre of private American producer-investors. Silent with music and English intertitles.

Takeda is a film about the universality of the human being seen thru the eyes of a Japanese painter that has adopted the Mexican culture.

A big day in the Scottish Borders is captured with astonishing clarity in this remarkable film commissioned by the local cinema.

Monarch butterflies have brought hope to the darkest times of people's lives. In Mexico, when they arrive for Day of the Dead, they are thought to be souls of the departed. Coincidence?

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„The Frontier“ or „La Frontera“ is the undulating landscape of the Sonora Desert in Arizona, which once was a symbol of freedom on the horizon of the American West – and also a region plagued by recurrent territorial struggles. Currently, a high steel fence stretches over several miles strictly separating the USA and Mexico into two territories. Every year, the remains of hundreds of migrants are retrieved from the area. The tense situation in Arizona’s borderland has split the locals into two groups: one demanding a more technically advanced border control system, the other requesting more humanitarian help. Accompanying various locals, NGO workers and self-proclaimed border guards from the region, filmmaker Gudrun Gruber raises the question of whether the latest border control technology will finally bring peace to the area, or rather merely increase the number of deaths.

In the Mexican jungle, the jaguar prowls and haunts people's minds. While different perspectives on this nocturnal predator clash, a child who is gradually losing his sight approaches the animal.

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People across the world are fleeing hunger, climate disaster and violence. The Vertical Border looks at what happens when forced migrants head to the US-Mexico border to claim dignity and rights, but arrive to a hostile welcome.

At the uncertain boundary between youth and adulthood, four young people confront the emptiness left after years of pursuing academic success and expectations shaped by others. Through an intimate and fragmented narrative, their voices question the social pressure to fulfill an imposed future while exploring anxiety, uncertainty, and the difficult process of building a future of their own.

Around the film hang fascinating questions about border politics, which I’ll touch on in an introduction before the screening. One of Eugene Buck’s motivations for making the film may have been his rough cross-examination during his kidnappers’ first trials, in October 1913, when defense attorneys cast him as a confused and unreliable witness against idealistic freedom fighters. On film he could reproduce the pursuit, the shootouts, his kidnapping, and his friend’s murder just as he had testified. Reenacting the crime on film may have been the best revenge—and a way to honor the sacrifice of Deputy Ortiz, a twenty-year police veteran and, for the era, a rare Mexican American lawman.

April 1994 in the Lacandona Jungle, Chiapas, México. The Zapatista women talk about the living conditions of Mexican indigenous populations and the life of peasant women. They explain the reasons for their struggle and their uprising.

Mexico, March 2015. Carmen Aristegui, incorruptible journalist, has been fired from the radio station where she has worked for years. Supported by more than 18 million listeners, Carmen continues her fight. Her goal: raising awareness and fighting against misinformation. The film tells the story of this quest: difficult and dangerous, but essential to the health of democracy. A story in which resistance becomes a form of survival.

A group of mexican high school students spent their time at parties and outside of school practicing skateboard, drinking an doing drugs.

Walt Disney said “We have created characters and animated them in the dimension of depth, revealing through them to our perturbed world that the things we have in common far outnumber and outweigh those that divide us.” Outside of Walt himself there are few people who have brought together and united more animators in the history of the genre than Craig "Spike" Decker and Mike Gribble, known to all as Spike & Mike. They created an animation festival that helped launch the careers of John Lasseter, Peter Lord, Will Vinton, Bill Plympton and Mike Judge to name just a few. Their Spike & Mike festival had an enormous impact on animation that was felt the world over. The festival was known as much for the breakthrough animation it presented as the outrageous antics of the founders.

Sentinels of Silence is a 1971 short documentary film on ancient Mexican civilizations. The film was directed and written by Mexican filmmaker Robert Amram, and is notable for being the first and only short film to win two Academy Awards.

Migrant families experience violence, but they also keep beautiful memories when they arrive in new lands. Fantastic and intimate stories, recalled from childhood, travel across time and space, magically intermingling with the help of the four elements and breaking the boundaries of cinema.

México-raised and currently Chicago-based artist Sofía Fernández Díaz details her process of adorning found objects and handmade textiles with beads, dyes, and melted wax to imbue them with new meaning, and to give them patitas.

Amateur footage of Delhi and Jaipur, from a military review to an atmospheric torchlit procession - and some armour-plated elephants.

This Traveltalk series short visits two of the most important cities on Mexico's Yucatán Peninsula.