Identity Crisis: Bringing Possessor to Life

Parents talk about their gay and lesbian children, and how they came to accept their lifestyle.

Sing! is a 2001 American short documentary film about the Los Angeles Children's Chorus, directed by Freida Lee Mock. How do squeaky-voiced 8 year olds become amazing singers? Sing! tells the story of how a community group, amid severe cutbacks in the arts, is able to develop a children's chorus that is one of the best in the country. It was nominated for an Academy Award for Best Documentary Short.

Rae Ripple, a welder from the outskirts of West Texas transforms neglected metal into works of art and in the process finds healing from her traumatic past.

Short subject on how fashion is created- not by the great couturiers, but on the street.

The film shows one day from waking up in the morning all the way to waking up again the next morning. The everyday situations that many commercials are made of, the little dramas that they create and solve through the product or service they sell, are stitched together into one day. This is a film about the everyday in (German, or Western-European) society because the commercials are part of the everyday of most people (everyone who watches television) and they depict an ideal image of society. The film abundantly uses repetition as an editing technique, in visual ways as described above, but also because commercials can be read in different ways. For instance, Brat baking foil shows up at the evening dinner sequence, when an ovendish is put on the table, and again later on in the sequence about going out to a classic concert, because the clip has classic music.

A short documentary about how "Fulton" the Ukrainian Football Club came together.

The Numbers Start with the River is a 1971 American short documentary film about small-town life in Iowa. Produced by Donald Wrye for the United States Information Agency, it was nominated for an Academy Award for Best Documentary Short.

The earliest 'rockumentary' of John Mayall and his musicians filmed in their homes, dressing rooms, motorways, airports, clubs, concert halls and at festivals.

A young mother, alone with her daughter, confides in a friend who happens to be the director herself. Chantal Akerman, although she sympathizes with the mother, does not say a word.

As queer trans and gender non-conforming children of the Vietnamese diaspora, we are fragmented at the crossroads of being displaced from not only a sense of belonging to our ancestral land, but also our own bodies which are conditioned by society to stray away from our most authentic existence. Yet these bodies of ours are the vessels we sail to embark on a lifetime voyage of return to our original selves. It is our bodies that navigate the treacherous tides of normative systems that impose themselves on our very being. And it is our bodies that act as community lighthouses for collective liberation. Ultimately, the landscape of our bodies is our blueprint to remembering, to healing, to blooming.

Documentary about the 1970 film, "End of The Road."