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Portrait of a group of 150 U.S. citizens who spent two weeks participating in the cotton harvest in a remote village in Nicaragua, seeing for themselves the impact of the U.S.-backed Contra war.

It is difficult to characterize Slobodan Tišma. He is unique and versatile. He wanders with joy throughout the artistic landscape, drawing it with his words since the early sixties. He started as a poet, he was a conceptualist, an "invisible artist" and a rock musician ("Luna"/"La Strada"- former Yugoslav New Wave bands). Currently, he is a prose writer, and sometimes he engages in minimalistic performances. Wearing different masks he moved from one artistic space to another breaking the stereotypes and creating an aesthetic phenomenon out of his own existence. His mainstay is margin. Through trees and ocean he communicates with the universe. He loves the game of seeking, and hiding again. He is a persistent walker. With his silent steps he pops up daily in the corners of Novi Sad, searching for his own pleasure. Similar to his writings, this film has no formal completeness and comprehensiveness. It wonders who Slobodan Tišma is.

A powerful three-part documentary studying the US involvement in Guatemala, El Salvador and Nicaragua. The differing factions - Sandinista leaders, Guatemalan campesinos, CIA operatives, Contras and US government apologists - are interviewed and, in the absence of a controlling narration, the audience is encouraged to draw its own conclusions.

MONTREAL NEW WAVE is a feature documentary that explores the New Wave cultural current in Quebec in the 70’s and 80’s. The film documents and questions that unknown part of our recent cultural history. Through archives and interviews with key figures of the time, MONTREAL NEW WAVE wants to shed light on a defining current that still inspires the Quebec cultural scene today.

The first-ever DVD to feature one of the great New-Wave acts of the late 1970s, The Fleshtones. For over 30 years, the band has recorded and toured playing around the world to their ever-loyal fanbase and is still going as strong as ever. Live At The Hurrah Club features a full-length performance from the band at New York's legendary venue from the early 1980 s bonus material that comes from a performance at the NY Rocker Party event.

Looks like an alien, sings like a diva - Klaus Nomi was one of the 1980s' most profoundly bizarre characters to emerge through rock music: a counter tenor who sang pop music like opera and brought opera to club audiences and made them like it. The Nomi Song is a film about fame, death, friendship, betrayal, opera, and the greatest New Wave rock star that never was!

She accused the leader of the Sandinista revolution of sexual abuse. Now he is president of Nicaragua and she lives in exile.

DREAMING NICARAGUA is a film about HOPE. It's about love for the dignity and courage of the human spirit that, even immersed in uttermost tragic conditions, fights for a better life, and in this case, with a friendly SMILE. DREAMING is a sensitive and lyrical portrayal of four children living in extreme poverty in Nicaragua. The film takes us beyond their hardships and gives voice to the youngsters, who are surprisingly funny, hopeful, and optimistic. A traveling art teacher provides a safe arena for our four unlikely protagonists to express their innermost thoughts. When painting, the kids momentarily escape the stresses of their reality into a world of dreams and ideas, a stark contrast to their lives outside: a vicious cycle of hunger, child labor, and violence. Despite the extreme circumstances, the children and their families face their lives with an inspiring unity, strength and humor.

Composed of stills by renowned Magnum photographer Susan Meiselas taken in 1978 and 1979 during the overthrow of the fifty-year dictatorship of the Somoza family. Written in the form of a letter from Meiselas to Karlin, it is a ruminative and often profound exploration of the ethics of witnessing, the responsibilities of war photography and the politics of the still image.

Shot in 1983–84 and focusing on the work of the Historical Institute, this film witnesses how Nicaraguans are recovering their history, the memory of Sandino’s struggle, to transform their sense of identity.