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Fumiko Hayashida: The Woman Behind the Symbol is both a historical portrait of Fumiko, her family and the Bainbridge Island Japanese American community in the decades before World War II as well as a contemporary story which follows 97-year old Fumi and her daughter Natalie as they return to the site of the former Minidoka internment camp, their first trip back together in 63 years. The film reveals how the iconic photograph became the impetus for Fumiko to publicly lobby against the injustices of the past.

Endphase tells the story of one the last WWII massacres which was not spoken about for 75 years. In the night of 2 May 1945, 228 Jewish women, children and old men were murdered in Hofamt Priel, a small village in Austria. The perpetrators were never found. The film is a journey into the past of the neighbouring communities Persenbeug and Hofamt Priel, where the brothers Hans and Tobias Hochstöger grew up. In search of an explanation they speak with the last local eyewitnesses and find Yakov Schwarz, the last survivor, and his family in Israel.

Thomas Haemmerli is about to celebrate his fortieth birthday when he learns of his mother's death. A further shock follows when he and his brother Erik discover her apartment, which is filthy and full to bursting with junk. It takes the brothers an entire month to clean out the place. Among the chaos, they find films going back to the 1930s, photos and other memorabilia.

Recognizable among a thousand, Commissioner Maigret is creating this winter's cinematic event. After Jean Gabin or Bruno Crémer, it is Gérard Depardieu who embodies the iconic character of George Simenon, inspired by a real police officer. Vidocq, Borniche, Bertillon, the great cops are an inexhaustible source of creation for artists. Delon and Belmondo have built their careers on the figure of the cop. However, his image is blurred by police violence and desacralized by the protest song.

An Israeli film director interviews fellow veterans of the 1982 invasion of Lebanon to reconstruct his own memories of his term of service in that conflict.

The protests of 1968 had a significant impact on the great cities of the world. But people like to forget that the periphery went through the same social upheavals – Central Switzerland, for example. This is hardly surprising: in the founding cantons of the Old Swiss Confederacy, society followed a strict order; tradition, shaped by centuries of Catholic rule, seemed untouchable. But in the 1960s, the local youth could not take these stifling conditions anymore: starting in 1969, resistance broke out across Central Switzerland.

Chronicles from Kashmir seeks to create a sense of “balance”: between differently positioned voices that emerge when speaking about Kashmir; between differently placed narratives on the “victim”/“perpetrator” spectrum. While there is an inevitable streak of political commentary that runs throughout the work – a political current that cannot be escaped when talking about Kashmir – Chronicles from Kashmir does not espouse any one political ideology. We see ourselves as being artists and educators, using aesthetics and pedagogy to engage audiences with diverse perspectives from/about the Valley.

On December 13 of 1943 the Nazi occupation army in Greece executed all the male population of the town of Kalavryta while burning it to the ground. Three men who witnessed these events as kids remember.

How do you find your place in an ableist world as a person with a disability? Disabled Hugo Schmidt talks to the almost 90 year old Franz-Josef Sauer, who was left with a walking impairment by a tuberculosis infection in his childhood. In the 1990s Sauer received the German Federal Cross of Merit for his achievements in the disabled community. As a public servant in Münster and Düsseldorf he worked on several projects which still benefit his disabled peers. Sauer and Schmidt discover that, although they were born almost 70 years apart, their paths in life are not that different from each other.