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Programming prodigy and information activist Aaron Swartz achieved groundbreaking work in social justice and political organizing. His passion for open access ensnared him in a legal nightmare that ended with the taking of his own life at the age of 26.

Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"

When Harvard PhD student Jennifer Brea is struck down at 28 by a fever that leaves her bedridden, doctors tell her it’s "all in her head." Determined to live, she sets out on a virtual journey to document her story—and four other families' stories—fighting a disease medicine forgot.

Openland is an art film guided by issues surrounding micro states and its derivative definitions. Through intertwining interviews, meta-narratives, and digital landscapes, Openland unfurls a dialogue between consciousness, individuality and collectivity.

Should we believe everything we hear on the news? Can we trust the national media? Are we being fed the truth or an agenda? The 60 Minutes Deception takes you behind the scenes of one of America's most popular and longest running news magazine shows and reveals a shocking web of deceit! In The 60 Minutes Deception you will witness firsthand: How a dedicated and courageous journalist was viciously smeared by "60 Minutes" at the request of the White House. How Mike Wallace, the host of "60 Minutes," deliberately omitted crucial evidence and distorted interview responses through manipulative editing. Why the major news media refuses to report the truth about certain political scandals and the abuse of power. The 60 Minutes Deception is one of the most important and damaging expos�s ever produces, clearly showing the dishonest tactics used by the mainstream press in providing misinformation to the American people. Must viewing for all concerned Americans!

After the Robb Elementary school shooting in Texas, local Uvalde Leader-News journalists are left to report on the fallout – and on one of their staff members. Reporter Kimberly Rubio rises to national prominence as an advocate for gun reform after her ten-year-old daughter, Lexi, is killed in the shooting. Through the journalists’ reporting, we witness the social fabric of this small Texas town unravel as Kimberly and other victims’ families search for accountability from law enforcement and local leaders. The documentary also shines a light on the critical role of community journalism, at a time when local newspapers are folding rapidly across the country.

Sylvia Kristel – Paris is a portrait of Sylvia Kristel , best known for her role in the 1970’s erotic cult classic Emmanuelle, as well as a film about the impossibility of memory in relation to biography. Between November 2000 and June 2002 Manon de Boer recorded the stories and memories of Kristel. At each recording session she asked her to speak about a city where Kristel has lived: Paris, Los Angeles, Brussels or Amsterdam; over the two years she spoke on several occasions about the same city. At first glance the collection of stories appears to make up a sort of biography, but over time it shows the impossibility of biography: the impossibility of ‘plotting’ somebody’s life as a coherent narrative.

Animal Charm makes videos from other people's videos. By compositing TV and reducing it to a kind of tic-ridden babble, they force television to not make sense. While this disruption is playful, it also reveals an overall 'essence' of mass culture that would not be apprehended otherwise. Videos such as Stuffing, Ashley, and Lightfoot Fever upset the hypnotic spectacle of TV viewing, revealing how advertising creates anxiety, how culture constructs "nature" and how conventional morality is dictated through seemingly neutral images. By forcing television to convulse like a raving lunatic, we might finally hear what it is actually saying.

A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.

This documentary is a journey into our own fascination, a collection of portraits of folk musicians living in New England, and a study of the ground on which their music is founded. We listen to them as they tell their stories and play their music. First and foremost, Behind a Hill is a tribute to these musicians and a rare peep into the house parties and basement jams of New England, in the northwestern corner of the USA, with the vain hope attached that maybe you, the viewer, will grow as fond of the music as we have. When we first encountered these musicians, we were overwhelmed by the quality of their musical output. We were entranced by the melodies, harmonies, rhythms, and tempos and every other element that constitutes a song (or, as is often the case, a piece of abstract drone music, heavy feedback, or someone banging a steel pipe against a bag of dirt while chanting in a yet undiscovered language, or...).