Mama Goema: The Cape Town Beat in Five Movements

It is with an old bus an about thirty snakes that Franz Florez struggles for the preservation of nature in Colombia, one of the most environmentally diverse country in the world. His snakes are his pass to enter the deep jungle, where guerrillas fight the regular army and where narco-traffickers meet coca growers. Facing the threat of the industrial exploitation of these preserved areas, he tries to gather support among the population, including the armed actors.

Before South Africa’s apartheid government in the 1970’s destroyed District Six, being gay, or “moffie,” was an accepted part of this racially and religiously diverse community in Cape Town. Kewpie's hairdressing salon was the epicenter of this culture, a meeting place where the “girls” organized drag balls and cabaret performances, all of which are captured through her amazing collection of snapshots.

The film highlights legendary Colombian birdwatching guide Diego Calderon-Franco and National Geographic photographer/videographer Keith Ladzinski as they travel through Columbia, a nation that boasts one of the most diverse populations of birds in the world, to capture footage of rare and unique birds, some of which have never been filmed before.

What happened to painter Beatriz González, who made us laugh with the irony of her works, to get to the point of making a self-portrait that shows her crying naked? The path of the artist is intimately linked with the history of Colombia during the past fifty years.

Simon Reeve visits Colombia in the year of the pacification, at least on paper, between the government, 'aided' by right-wing death squads, and the Marxist FARC guerrilla, which was turning into an armed super-drug cartel and champion of ransom kidnappings. He speaks with people about the horror that hopefully nears its end and the prospects if both sides disarm.

Colombia receives the indemnity for Panama and accepts foreign credit to undertake development works, which increases the number of workers, although with poor wages and terrible working conditions. María Cano, a political activist, began her fight for the conditions of salaried workers and for the fundamental rights of the population.

Since its adoption in June 1955 by the Congress movement, the Freedom Charter has been the key political document that acted as a beacon and source of inspiration in the liberation struggle against Apartheid. It was reputedly the main source that informed democratic South Africa’s liberal constitution and a constant reference point for the ruling African National Congress (ANC) and rival political parties that it spawned since 1994, all claiming the Freedom Charter’s legacy. Freedom Isn’t Free assesses the history and role of the charter, especially in relation to key political and socio-economic aspects of developments in South Africa up to the present period. It includes rare archival footage with interviews of a cross-section of outspoken influential South Africans.

Bruce Brown's The Endless Summer is one of the first and most influential surf movies of all time. The film documents American surfers Mike Hynson and Robert August as they travel the world during California’s winter (which, back in 1965 was off-season for surfing) in search of the perfect wave and ultimately, an endless summer.

María is an Amorúa girl; an indigenous group that traveled the savannas of Orinoquía as nomads. She lives with her grandmother Matilde, her sister diana and her cousins in Puerto Carreño, in the Colombia-Venezuela border. The amorúa are considered wild and are not literate. Matilde wants her granddaughters to learn to write and read to live better in this town of "rational whites" as they call us. The director follows María's life for 8 years from her childhood to her adolescence and invites her to travel the places her grandma did as a nomad.

The best kept secret in American history is revealed. San Martín and Bolívar meet for the first and only time to chase the dream of a Grand Motherland.