We Were Here

The Bridge is a controversial documentary that shows people jumping to their death from the Golden Gate Bridge in San Francisco - the world's most popular suicide destination. Interviews with the victims' loved ones describe their lives and mental health.

A young teacher in Zurich in the 1950s falls in love with a transvestite star but is torn between his bourgeois existence and his commitment to homosexuality. He joins a gay organization that is eventually seen as the pioneer of gay emancipation in Europe.

A documentary about the corrupt health care system in The United States who's main goal is to make profit even if it means losing people’s lives. "The more people you deny health insurance the more money we make" is the business model for health care providers in America.

Bernhard, an actress-comedienne whose brassy humor attracts a cult-like following, here offers a semiconfessional view of her life's landscape. Childhood memories of her father, a doctor, and her mother, an artist, are warmly rendered in scenes of the Jewish family amiably accommodating itself to the Christmas season, and of the obligatory communal vacations joined by colorful relatives. The abrupt transition to a flamboyant denizen of "downtowns," Los Angeles or New York, to an existence as a character in the lives of marginal people, is evoked in sharply satirical terms, in a melange of humorous fact and fiction, monologues akin to those that make Bernhard an icon of pop culture.

Josef Ganz, editor of trade journal Motor-Kritik, amazed Germany by appearing in a revolutionary tiny car in 1932. It was his dream: a people's car anyone can afford. The idea made its way to new Reichskanzler Adolf Hitler. But in Hitler's dream there was no place for Jewish inventor Ganz. This is the story of the man whose designs led to the invention of the Volkswagen Beetle, and who ultimately lost everything. In the film, Ganz's relatives and admirers bring his lost heritage back to life.

The LA Sisters are outrageous, controversial, always fabulously dressed men and women who feel they are called to minster to the community as 21st century nuns.

Daily spleen, drunkenness among friends, conversations and the passage of time: the video diaries composed by Lionel Soukaz chronicle the early 1990s, the comet tail of those never-ending winter years and the nightmare of the AIDS years. But edited thirty years later with Stéphane Gérard, they are also a tribute to Hervé Couergou, the beloved partner at the center of all the filmed scenes. Slowly, in conversations between couples and friends, the dandy spirit and intimate confession overlap. What emerges is a portrait of a way of dealing with the times and their pain, which, beneath the act of commemoration, seeks to inscribe a living presence.

It often happens that at the moment of death, transgender individuals are shorn of their identity. Their families are ashamed, the funeral takes place in secret, and on the tomb appears the name the deceased had before their transition, in one stroke nullifying the entire life path they had chosen. The same thing happened to Antonia. Her girlfriends gather to honor her memory and give her back her identity denied. In telling her story, the film’s stars, all drawn from the variegated transgender world, interweave the narrative with tales of their own lives, experiences, and memories.

The only thing colder than a Canadian winter is Canadian bureaucracy (probably). Based on five real life stories, Romy Boutin St-Pierre and Joe Nadeau pay homage to the nation-wide stress headache of phone calls with the government in this surprising short.

The voices of five gay men who cruised for sex at the World Trade Center in the 1980s and 1990s haunt the sanitized, commerce-driven landscape that is the newly rebuilt Freedom Tower campus.