In 1979, at time of a cruel dictatorship, Cucaño emerged in the city of Rosario, Argentina. A group of experimental art integrated by very young young people, their action gave some light to the ominous darkness of those times. Today in their fifties, its former members reclaim those actions of their first youth and persist, each of them in his/her own way
In the 1990s many people in Kurdistan were taken into custody and interrogated under torture; their killers disposed of the bodies by throwing them out of helicopters, or burying them in acid-filled wells. Thousands were murdered/disappeared by paramilitary forces—such as Jitem and Hizbul-Kontra—that were financed and supported by the state, though they have always stuck to the line: “We didn’t do it.” The documentary ‘BÎR’ looks at the case of seven people, including four children, who were disappeared from the town of Kerboran [Dargeçit] in 1995, and tells the story of their families’ tireless search for their bones.
The portrait of Grisélidis Réal, a key figure in Geneva’s recent history, is sketched out between Switzerland where an unusual life path bloomed and ended, a brothel and prison in Munich, the militant fight in Paris or life in Alexandria. Asserting herself in the 1970s as one of the leaders of the “Prostitutes’ Revolution” in Paris in order to defend the perspective of prostitution as a choice, she expanded on this position in her writing: “Prostitution is a revolutionary act.” (GR). A humanist science above all, for a passionate and free woman, profoundly feminist in an equally personal and individual manner. Built on very rich archives, an account with a breath of fiction, transported by remarkable editing and by a contemporary heroine’s lust for life: “He who has never really loved should throw this book in the dustbin. The rubbish will be a warmer and softer place than his hands.” (GR). There remains her epitaph, a manifesto for the triumph of will: “Grisélidis Réal, Writer – Painter – Prostitute.”
Griselidis Real is a meteor. Her life deserves to be a novel.
She was a courtesan in the brothels of Munich, where she flirted with blacks G. I. S selling marijuana. She was inprisoned.
In the ' 70, became the rebel-whore
She wrote: Prostitution is art, it is science and also humanity overrun by passionate love. So are her clients.
Griselidis painted, outlined and wrote all the time about the life she invented for herself.
Everything with her becomes precious, passionate, exciting, crazy.
Griselidis is a rebel.
She's a stormy woman who travels at night screaming, welldressed,, impressive.
The film deepens in her writings and narrates the extraordinary life of an extraordinary woman.
Fantastic images, inspired by her texts, drawings, excerpts, manuscripts, photographs, historical records, interviews, are interwoven and ultimately derive the fragmented and pluralistic portrait of a beautiful Rebel who reveals a real writer
The story of Safa Dabour, a religious Muslim from Nazareth, who established the first and only Arab cinematheque in Israel. She succeeds in taking charge of her own fate and freedom and establishes the cinematheque.
A single woman in a man's world, she travels to bring Arab box-office hits from Arab states, and seeks, against all the odds, to create an island of culture for the society to which she belongs.
This is a cinematic profile of a courageous woman whose path to freedom is interwoven with the battle for her own cinematheque.
• Best film Award at the International Art Film Festival (Tel Aviv, Israel, May 23,2016)
A group of friends begins a journey to get to know Niko Papazoglou, the person behind the music. Τhey visit the places where he lived, loved, and composed. A road trip all over Greece – from Athens to Nisyros and Thessaloniki, guided by music.
Two of only three known members of the Piripkura still live as nomads in the Amazon rainforest, in the Brazilian state of Mato Grosso. Their most important possession is a torch that was lit in 1998 and has remained so ever since. The area where they live is encircled by farms and sawmills, whose almost inevitable expansion is taking place through violent means. This area of rainforest can only keep its protected status if there’s proof that the two men, Pakyî and Tamandua, are still living there. So Jair Candor, coordinator for the protection of these areas, treks into the jungle in search of them, sometimes accompanied by their sole surviving family member Rita. Through this film, the crew provides proof of the two men’s existence. Piripkura sheds light on the tragedy befalling indigenous Amazon people—the systematic violence used against them is a constant menacing presence. Despite the impressive resilience and tenacity of the last of the Piripkura, an inevitable question hangs in the air: how long can it last?
• Jury Award @ Docville 2018
After five months of incessant and senseless shelling, a group of children living in Aleppo start painting the walls of their city. It is an act of protest as well as resistance: a small act that dares to dream of bringing back life in a place that has been humiliated by bombs and bullets, while international powers were watching without doing anything to save lives.
* Gold Lion Award @ Film London Awards 2017
The documentary, ‘The Slave Genesis’ deals with the ethnicity and the social transformation of Paniya tribals, who belong to Wayanad, the hill district to the south of Western Ghats in South India. ‘Paniya’ literally translates to a ‘labourer’. These tribals—who were deployed to work in the farms of migrants, who trickled into Wayanad from time to time, have distinct arts and songs that reflect their identities. The prime among their songs is Penappaattu (speech of ghost), which they recite as part of funeral rituals. The song begins with the origin of Paniya tribes. Based on the contents of Penappattu, the documentary explores the social transformation of the Paniyas. It proceeds through the recollections of the director, who was born and brought up in close proximity to the Paniyas. The anthropological pitch forms the aesthetic build of the documentary.
In this unapologetic and politically incorrect portrait, an extraordinary and eccentric Belgian judge takes viewers behind the scenes of real-life criminal investigations. The stranger-than-fiction documentary makes for a wild and riveting ride.
* SIGNIS Award - Special Mention @ San Sebastián International Film Festival 2017
What happens if a documentarist becomes a refuges?.. A young couple Yoseefi’s, who were working as TV program producers and documentarists in Kabul, had to seek refuge in Turkey after leaving Afghanistan due to sectarian discrimination and threats radical religious group. As they try to look for a temporary solution in one of the cities where immigrants are located, Kırıkkale, their main aim is to settle in Europe. However, UNHCR is no longer allocating quotas to Afghans within immigrant groups transferred to Europe. The couple, who learned this after their arrival, has to accept Turkey as their permanent resident and to start over from the scratch. How can these people, who were famous in their own countries, hold on to life in a place where no one knows them? They begin working as a wedding cameraman, the closest think they can find to their original profession, with the only valuable items they can bring with them, their camera. They have frames of a new life in their lens now.
Who becomes a mother? Anyone… Anyone ….
I could have been her mother… And Aurora could have been my daughter…
I didn’t receive her alive but dead… But it’s the same…»
Not “da da da”, “Hey! Ba-Ba-Re-Bop” is the sound of life. You just have to feel it, and then even still lifes swing.
Nothing is the way it used to be. The ideas about gender roles, for example, or that grandchildren are always unequivocally encouraged in their endeavours. Director Vincent Förster experiences this first-hand when documenting the everyday life of his grandparents. Yet, one thing has not changed: The grandparents sit on their sofa and defy all external odds with subtle humour and charming determination. Bit by bit, it unfolds that in German history Jazz is a good barometer of freedom.
An increasing number of women in Italy choose not to have children. Lunàdigas explores their world.
The word lunàdigas comes from the Sardinian language and it is used by the shepherds to define the sheep that don't reproduce. The authors and directors Nicoletta Nesler and Marilisa Piga have chosen this word as title of their movie about women that haven't children because in Italian language there isn't a word to define them: all the names are the negations: "without children, "not mothers." Lunàdigas is a word that affirms and confirms, with auto irony, the existence and the identity of those women that are also felt complete without having children, challenging stereotypes, common places and senses of guilt. Lunàdigases are the women protagonists of the movie realized through the personal histories of each woman that, immediately, become universal. Lunàdigas speaks about the condition less explored of these women and about the reasons socially stigmatized: to choose not to be mother is a persistent taboo. Lunàdigas proposes to show it and to contribute to overcome it.
The documentary is part of the "Gender equality" tribute, which is co-financed by the Partnership Agreement (PA) 2014-2020 | Reform of the Public Sector.