Mother

For consumers, bananas are a delicious and nutritious start to the day, a healthy snack and a fixture in our fruit bowls. For millions of residents in the banana lands, the production of bananas means social upheaval, violence and pesticide poisoning. Banana Land explores the origins of these disparate realities, and opens the conversation on how workers, producers and consumers can address this disconnect.

In this highly anticipated sequel to his groundbreaking, ADVERTISING AND THE END OF THE WORLD, media scholar Sut Jhally explores the devastating personal and environmental fallout from advertising, commercial culture, and rampant American consumerism. Ranging from the emergence of the modern advertising industry in the early 20th century to the full-scale commercialization of the culture today, Jhally identifies one consistent message running throughout all of advertising: the idea that corporate brands and consumer goods are the keys to human happiness. He then shows how this powerful narrative, backed by billions of dollars a year and propagated by the best creative minds, has blinded us to the catastrophic costs of ever-accelerating rates of consumption.

A documentary that exposes the shocking truths behind industrial food production and food wastage, focusing on fishing, livestock and crop farming. A must-see for anyone interested in the true cost of the food on their plate.

My grandmother has dementia! And I live with my grandmother. Conflicts between the younger brother and the grandmother begin due to the grandmother's repeated behavior. Among the disappearing memories, what kind of memories should we live with?

When Ines died, she left a very particular legacy, 10 books that read 'For my children'; it was the story of her life. Marked by a youth idyllic love, Ines was forced to marry a violent and womanizer man with whom she had 20 children. In the 50s, she managed to get divorce and 20 years after her death, Luisa, great-granddaughter of INES, reads, rescues and makes visible her history.

Lou Colpé has been filming her grandparents since she was 15. In the process of this intense relationship, she notices some disconcerting signs in her grandmother: Alzheimer’s is slowing her down. A new film begins, a tougher one: the story of a couple that must face a tremendous challenge. Struggling against the tide of oblivion, the task of filmmaking becomes the ultimate act of resistance. Trying to retain the last images of her grandparents, an intimate conversation begins and echoes through the songs that play on the radio, conjuring lost stories and memories.

We follow three women on an emotional and thought-provoking journey as they lend their bodies and carry someone else's child.

As her adolescence gives way to the obligations of motherhood, troubled Gemma matures in Motherwell, her Scottish hometown, heavily dependent on the steel industry. Unfortunately for her, her hedonistic way of understanding the world does not fit in with the philosophy of the rest of the villagers, so trouble soon follows.

Calling Mother is about the moments when you just have to call your mum. It is a compilation of phone calls made by different people to their mothers. Film follows the lifespan of a human being from youth to adulthood, a child changing from a dependent to a caretaker. Phone calls are connected by images of an old telephone center and a story of a young mother who doesn’t have a mother to call.

The film deals with the process of globalization based on the thought of geographer Milton Santos, who through his ideas and practices, inspires the debate about Brazilian society and the construction of a new world. Santos discusses his views on the importance of respecting difference and his belief that an alternative globalisation model could wholly enfranchise all citizens of the world. An illustrious presence in 20th century social sciences, the man dubbed as ‘geography’s philosopher’ eloquently elucidates a developing world perspective on the global age.