Naked

This hour-long documentary is a provocative look at a historical event of which few Americans are aware. In mid-January, 1893, armed troops from the U.S.S Boston landed at Honolulu in support of a treasonous coup d’état against the constitutional sovereign of the Hawaiian Kingdom, Queen Lili‘uokalani. The event was described by U.S. President Grover Cleveland as an "act of war."

An endearingly nostalgic exploration of the defiant Vietnamese new wave music scene, as well as a vulnerable and personal look at the filmmaker and her community’s revisiting of their unexamined past.

The Mayan doomsday prophecy looms over a dark night in Poland. A late-night radio host takes in calls from citizens expressing their concerns, predictions and speculations on what may happen when—or even if—the sun comes up. Simultaneously, a crisis centre dispatcher fields panicked calls from people experiencing real-life traumatic situations in need of immediate attention. The voices of these callers are interwoven with an intimate therapy session and a wandering taxicab to build a profile of a place where citizens want to be heard. Never showing the callers on the other end of the line, the film creates an aural overview of a darkened city. As the night progresses, the calls continue coming in, revealing the various struggles people are experiencing in dealing with conceptual fears and current woes—all in a world that soon may be over.

Southern Rites visits Montgomery County, Ga., one year after the town merged its racially segregated proms, and during a historic election campaign that may lead to its first African-American sheriff. Acclaimed photographer Gillian Laub, whose photos first brought the area unwanted notoriety, documents the repercussions when a white town resident is charged with the murder of a young black man. The case divides locals along well-worn racial lines, and the ensuing plea bargain and sentencing uncover complex truths and produce emotional revelations.

An experimental documentary about the street drag racing scene on Chicago’s Near West Side. This is a rambling, textured film about obsession. It is about the mythos of speed for its own sake, and it is about waiting. While waiting, The BLVD exposes community, inner-city landscapes and nomadic experiences of place. The film treats storytelling as a living medium for determining history. And it commands respect for those who transform cars, or anything else, through passion.

The history of barbed wire, whose use dates back to the first settlers of the Wild West, always driven by their reckless and ruthless spirit of conquest and selfish ambition to leave their mark on wild lands; of its relationship with politics and mercantilism; of the perversion of the millenary relationship between men and animals; of the evolution of surveillance techniques. Fences and borders: the tragic tale of the enclosure of the world.

A glimpse into the world of the women who create and consume romance novels.

Documentary composed of interviews with female partisans who survived the German invasion of Italy in World War II.

When Rehtaeh Parsons was 15 years old, she went to a party that would define her remaining teenage years. She was sexually attacked and had no memory of it, until photographic evidence spread through social media. The resulting humiliation and bullying the Nova Scotia teen received led to her tragic suicide less than two years later. News of her death reverberated worldwide, a stunning demonstration of the power of images and social networks to amplify the extent of rape culture and effects of depression. Now, her parents and those who knew her reassemble the pieces of Parsons’s life in their courageous quest to make accountable the systems that failed to protect her. With the support of Anonymous, an online campaign and public pressure, they forced the Nova Scotian government and RCMP to address the case and bring the perpetrators to justice. Parsons’s story epitomizes the immense capacity of new tools in these nascent years of social networking.

A documentary about making the feature film "Ten Canoes". It is May, 2005 in Central Arnhem Land: 'We are making a movie. The story is their story, those that live on this land, in their language, and set a long time before the coming of the Balanda, as we white people are known. For the people of the Arafura Swamp, this film is an opportunity, maybe a last chance to hold on to the old ways. For all of us, the challenges are unexpected, the task beyond anything imagined. For me, it is the most difficult film I have made, in the most foreign land I've been to...and it is Australia.' - Rolf de Heer