Canada the Land

Filmed for the most part from a low-flying aircraft, this documentary short presents a breathtaking view of Canada from coast to coast. Showing the varied terrain, from craggy coast to towering glacier, the film illustrates Canada’s pristine wilderness as well as today's industrial and urban realities. Canada the Land was specially commissioned for the Canada Pavilion at the Osaka World Fair in 1970.

Dancing with the Birds

Some of the world's most majestic birds display delightfully captivating mating rituals, from flashy dancing to flaunting their colorful feathers.

Another Sunny Day

Imagine how life must be for someone whose skin has no protection whatsoever from the sun. And now imagine living in a country that averages over 80% sunshine during any given year. Welcome to Paulus's life in Namibia.

Oom Land

50 years ago the Volkswinkel - the People's Shop - opened for business in Rehoboth. The man behind the success story is Oom Land. Here you get to meet him.

მეკვლე

Voices from the past echo through the deserted, snow-covered stone houses in a village in the Caucasus Mountains.

La Sortie de l'usine Lumière à Lyon

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

Fire in Paradise

In this documentary, survivors recall the catastrophic 2018 Camp Fire, which razed the town of Paradise and became California’s deadliest wildfire.

Keiner wird als Held geboren

Heroes from the GDR's past are presented. Heroes will also be needed in the future.

Until Further Notice

With his industry on lockdown and no end in sight, Toronto chef Luke Donato tries to keep his culinary passion alive during the COVID-19 pandemic - even if it means teaching a group of misfits online.

Éloge du chiac

Taking the form of a conversation between a young teacher at a French school in Moncton and her students, the film shows how hard it is for francophones to preserve their language in a society where English is everywhere and has been for centuries.

Après le déluge

Das Triadische Ballett

A film in three parts after Oskar Schlemmer's Triadische Ballett (Triadic Ballet).

Casablanca revisitada

A lyrical and nostalgic analysis of how Casablanca, the mythical film directed by Michael Curtiz in 1942, has influenced both film history and pop culture.

First Daughter and the Black Snake

The “Prophecy of the 7th Fire” says a “black snake” will bring destruction to the earth. For Winona LaDuke, the “black snake” is oil trains and pipelines. When she learns that Canadian-owned Enbridge plans to route a new pipeline through her tribe’s 1855 Treaty land, she and her community spring into action to save the sacred wild rice lakes and preserve their traditional indigenous way of life. Launching an annual spiritual horse ride along the proposed pipeline route, speaking at community meetings and regulatory hearings. Winona testifies that the pipeline route follows one of historical and present-day trauma. The tribe participates in the pipeline permitting process, asserting their treaty rights to protect their natural resources. LaDuke joins with her tribe and others to demand that the pipelines’ impact on tribal people’s resources be considered in the permitting process.

Las Hurdes

An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time.

The Future Is Rotten

A secret culture of foragers hunt the Matsutake, a coveted Japanese mushroom worth up to $1,000 a pound—although its true value lies underground as a brilliant networker and healer of ruined landscapes. The Matsutake might just be our last, best hope for an American forest system run amok.

Strade perdute - Filmmaker 23

For Filmmaker Film Festival (2023), Fulvio Baglivi and Cristina Piccino asked some filmmakers (R. Beckermann, J. Bressane, D’Anolfi/Parenti, T. De Bernardi, L. Di Costanzo, A. Fasulo, F. Ferraro, M. Frammartino, S. George, ghezzi/Gagliardo, C. Hintermann, G. Maderna, A. Momo, A. Rossetto, M. Santini, C. Simon, S. Savona) to give us their own "lost road," that is, a sequence, scene or piece of editing that did not later find its way into the final version of one of their works. Each fragment has its own accomplished presence, often has a different title from the film it was made for, which is not necessary to have seen in order to find meaning; on the contrary, those who set out thinking they know the world they are walking through will find themselves displaced.

Good Grief

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.

Die Kanarischen Inseln

There are few places on earth that have such a diverse variety of terrain and range of climates concentrated in a relatively small area - temperate coastline, scorching arid deserts and tundra, tropical rainforests and frozen snowcapped mountains. And there are few places that are as heavily exploited by humans, yet remain a wilderness.

Flora

A metacinematic reflection on the nature of representation and the ongoing drug war in Mexico, Nicolás Pereda’s Flora revisits locations and scenes from the mainstream 2010 narco-comedy El Infierno, exploring the paradoxes of depicting narco-trafficking on film—its tendency both to romanticize and to obscure. To screen is both to project and to conceal.