The Last Chinese Laundry

Europe, the rule of law and host countries? Look elsewhere denounces what is happening in many European cities by taking the example of Calais. From the expulsion from the "jungle" in October 2016 to the situation there a year later, Arthur shared moments of life with men and women of Sudanese, Afghan, Ethiopian, Eritrean and local descent of Calais. By highlighting the gap between the field and the official speeches, this film shows us the strategy put in place to dissuade the exiles from staying. With original filming methods and his civic gaze, the director has managed to film the state harassment, the media staging, but also the strength and humor of the exiles.

A representation of queer and feminist imagery that was mainly shot in the Qinghai-Tibetan Plateau, remote and developing areas in southwest China, and metropolitan cities like Beijing from 2000 to 2004 to document the social changes in contemporary China. The director sympathetically and erotically represents a variety of women, including women as laborers, women as prayers, women in the ground, women in marriage, and women who lie on the funeral pyre with their dead husbands. Her camera juxtaposes the mountains and rivers in old times, the commercialized handicrafts as exposition, the capital exploitation of the elders’ living space, and the erotic freedom of the young people in a changing city.

At the end of a quarry, in a godforsaken place called Rotzloch, a new life begins for four young men.

With the help of hidden camera, Danish TV 2 documents how a known Danish imam teaches Muslim women about Islam's violent rules of adultery.

A decade after taking a series of photographs of skinhead members of a far-right group for his book Public Enemies, Leo Regan returns to three members of the gang to see what has happened to them in the intervening years.

Long Tack Sam was an internationally renowned Chinese acrobat and magician. He overcame isolation, poverty, cultural and linguistic barriers, extreme racism and world wars to become one of the most successful vaudeville acts of his time. His showmanship was unrivalled, yet he refused to appear in movies because of the way Chinese were portrayed at the time. A celebration of the spirit of Long Tack Sam's magic and art, this richly textured first person road movie is an exhilarating testament to his legacy and a prismatic tour through the 20th Century. It all begins in a small village in China... https://www.nfb.ca/film/the_magical_life_of_long_tack_sam/

A powerful set of stories of “righteous persons” taking action along the U.S.-Mexico border, motivated by moral conviction and compassion. "Borderland" shows how courageous actions can lead to political mobilization and the defense of human rights in the face of hate and discrimination.

As a doctor, Zhiyuan Wang spent 30 years studying how to save lives. He never imagined that he would spend another 10 years investigating how Chinese doctors take innocent lives. 95% of his evidence comes directly from China. His sources are Chinese doctors, judges, legislators, military officials, government officials, the media, and hospital websites. His research reveals an inconceivable truth – China’s hospitals, judiciary, and military worked together under the authority of the previous Chinese president Jiang Zemin to mercilessly slaughter a large number of Falun Gong practitioners through the harvesting of their organs. Today in a time of peace, it is difficult for people to believe that such a large-scale massacre has been silently taking place in China. But the truth shows that this frenzied killing machine, driven by huge profits, is still running rampant in society.

“An Untitled Film” by George Alshevskij-Jones is a short documentary/visual essay about the struggles of moving to seek a better future in a different country. The research for the film was done by observing and talking to people who have left their home country. It doesn’t matter what country a person has left and in which country he has found himself, the general experiences and emotions stay the same. The most important message that I want the film to convey is that everything is possible and home is not a place on a map, but a place in the soul of each person that I spoke to. The unconventional way of showing many people as one is not just a way of making the film more convenient to create, but a way to fit a much information into one consistent image, that the audience is more likely to understand and perceive as the author intended it. My own experience blended in with the experiences of others.

Rosine Mbakam is invited to step in Sabine’s small hairdresser’s because it is dangerous in the street. She accepts and pushes in with her camera. Sabine’s stories and the customers’ joys, worries, problems and fears bring depth and life into the premises. At times, it feels like the entire African quarter of Brussels had squeezed in. Laughter abounds, anecdotes and life stories elicit emotions, and a male visitor brings a touch of flirt into the salon.