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Elles Kiers and Sjef Meijman lived intensively with four Bunte Bentheimer pigs for seven months. During the slaughter month they had their beloved pig Bom killed and then prepared it themselves. The short documentary Blood (Dinanda Luttikhedde, 2011) follows the visual artists in the final phase of their research project into the origin of our food. A valuable ritual unfolds around the processing of this animal.

Forget what you think you know about pigs. These remarkable animals have talents we're only beginning to understand. See how pigs have conquered nearly every habitat on Earth, thanks to their remarkable senses, intelligence, and adaptability. From the islands of Indonesia to the beaches of the Bahamas to the frozen tundra of Siberia, meet eight-inch pygmy hogs, cheetah-avoiding warthogs, domesticated pigs with super senses, and more.

A Cow at My Table explores Western attitudes towards farm animals and meat, and the intense battle between animal advocates and the meat industry to influence the consumer's mind. Five years in production took Director Jennifer Abbott across Canada, the US, Australia and New Zealand to meet with the leaders of the animal rights movement, animal welfare advocates as well as spokespeople from livestock industries. A Cow at My Table inter-cuts these diverse perspectives with archival films, images from modern-day agribusiness and footage of farm animals shot from uncharacteristic vantage points.

An intimate reflection on animal treatment, following ethical pig farmer, Bob Comis, as he contemplates his transition out of raising animals for slaughter.

The moral dimension of humanity's interaction with nonhuman animals and the industries that profit from their exploitation, as informed by world religions. A historical explanation of how the current global situation came to be.

An early example of ultra-realism, this movie contrasts the quiet, bucolic life in the outskirts of Paris with the harsh, gory conditions inside the nearby slaughterhouses. Describes the fate of the animals and that of the workers in graphic detail.

"The Hart of London" is an endlessly layered tour de force. It explores life and death, the sense of place and personal displacement, and the intricate aesthetics of representation. It is a personal and spiritual film, marked inevitably by Chambers’s knowledge that he had leukemia. The late American avant-garde filmmaker Stan Brakhage said of Hart, "If I named the five greatest films [ever made], this has got to be one of them." Even this high praise falls short of hyperbole. The Hart of London is at the centre of Chambers’s extraordinary achievement.

Pig, hippo, and elephant footage strung together with narration. Elephants were included even though they are not related to pigs.

An ex gang member's love for pigs spurs him on a life-risking mission to uncover the truth behind 'bacon'. Director and Activist Joey Carbstrong goes undercover with fellow activists to infiltrate and expose the deeply ingrained corruption and heartbreaking abuse that lies at the heart of the UK’s ‘pork industry’.

This movie tells the common fate of the meat workers in the big industrial slaughterhouses. At the beginning, we think that we are not going to stay. But we change only our post, department. We want a normal life. A house was bought, children were born. We obtine, we lean. We have pain in the daytime, we have pain at night, we have pain all the time. We hold on all the same, until the day when we do not hold on any more. The joints break, nerves also.

The first collaboration between Matthew Barney & Elizabeth Peyton, Blood of Two is a unique, site-specific work that draws its references from Hydra itself – the surrounding environment, animals, humans, and local traditions are all part of the project in equal measure. Blood of Two centers on the former function of the Slaughterhouse and the customs of Hydra to establish connections between paganism and religion, ancient and modern, the ritualistic and familiar. As much as its conflicted terms strive for balance and fusion, it is Blood of Two’s greater resistance to these impulses, its failure to surrender unconditionally to them that ultimately counts, as a network of overlaps and crisscrosses.