Corazón Oaxaqueño

Documentary film explores the role of women in the Slovenian film and is also looking for reflections in the film classics of the constant changing position of women in the society. Documentary also refers to popular and lesser-known women's roles in the history of Slovenian film, heroines in the literal sense, typical roles in many partisan films, as well as the established cliches: a suffering mother, adulteress, gossip. Through interviews with the actresses, theorists and artists as well as analyzing the most common phrases expressed by women in the Slovenian films, the film tries to reveal the true Slovenian film heroine.

In this documentary film a team of researchers examine the social contexts that influenced the emergence and permanence of heavy metal music in Chile, Argentina, Mexico and Peru. Colonialism, dictatorships, terrorism and neoliberal exploitation serve as points of reference for how heavy metal in the region has been directly linked to each country's social and political context.

The film portraits the stage previous to the outbreak of the Mexican Revolution, from the end of Porfirio Díaz´ government, the social volatility, the ephemeral government of Madero and the presence of the working class in the figures of Villa and Zapata, until the signing if the Constitution of 1917. All of this through moving images, filmed during those events mainly by the Alva brothers, filmmakers of that time. Those images let us perceive the contradictory and shuddered glance of the people of that period.

Sure, Elvis was the King, but who was the Queen? The Women Of Rockabilly – Welcome To The Club is a documentary search for the "Female Elvis", as we meet the women of rockabilly music and explore the "what-if’s?" and "what-now’s" of their careers. Brenda Lee, Wanda Jackson, Janis Martin and a sassy cast of lesser but no less colorful pretenders to the throne describe their trailblazing days when they were the embodiment of exuberance, sexuality and defiance in a world that wasn’t quite ready for them. A rockin’ feature documentary by Beth Harrington.

A couple of artists travels through the Mexico desert to present their puppet show.

They are four of the most successful businesswomen in China: Belonging to a generation who experienced the austerity of China's cultural revolution, followed by the subsequent economic boom, they have worked their way to the very top in a patriarchal society. Today, Yang Lan is the owner of one of the leading private media companies. Dong Mingzhu is a tenacious female CEO, heading up the world's largest manufacturer of air conditioning systems. Zhang Lan is a tycoon in the luxury restaurant business. Zhou Yi is a top manager working for a big american IT company. How were these careers built? What are the social and economic contexts in which they operate? And what do these women think about the political, social and cultural state of their country?

„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 Espinhaço Mountains one winter, a group of small-town Brazilian girls are experiencing the end of their youth. Impossible romances leave marks on their bodies and the surrounding landscape. Each of the friends finds her own particular way to overcome the loneliness and to live within a tangle of uncertainty.

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.

Our minds can play against us whenever and even more in triggering situations such as social distancing due to a global pandemic. Dentro documents the coexistence of two young women with depression and anxiety in times of confinement.