Etched in Bone

De Senegal hacia España y Argentina

2020

Documentary about sub-Saharan immigration in Spain and Argentina focusing especially on the Senegalese community

Ka Ho‘ina: Going Home

2014 · ★ 7

Ka Hoʻina documents members of Hui Mālama I Nā Kūpuna O Hawaiʻi Nei's final repatriation of over 140 sets of iwi kupuna and provides an intimate look into the legacy forged by these committed and passionate few, ensuring that Hawaiians will mālama or care for kupuna for generations to come.

Statues Also Die

1953 · ★ 6.9

Commissioned by the journal Présence Africaine, this short documentary examines how African art is devalued and alienated through colonial and museum contexts. Beginning with the question of why African works are confined to ethnographic displays while Greek or Egyptian art is celebrated, the film became a landmark of anti-colonial cinema and was banned in France for eight years.

PsiQuis: Un Giro Decolonial

2023 · ★ 10

PsiQuis: Un Giro Decolonial is a documentary that presents and discusses the psychological impact that colonialism has had on the Puerto Rican people. The director analyzes the traumas generated in Puerto Rican society by that colonial experience.

The Shaman's Apprentice

2001 · ★ 8

Scientist Mark Plotkin races against time to save the ancient healing knowledge of Indian tribes from extinction.

4th of July on Quileute Tribal Lands

2015

In a strange twist of irony, Americans celebrate their independence on the sovereign lands of the Quileute People. An ambient soundscape coupled with the opening shot of an adjoining RV park work in unison to reveal an alien invasion on the shores of Quileute Tribal Lands.

Gardens of the Orient

1936

This portait of life on the tea plantations is decidedly rosy – clearly, there are no exploited workers here. However, the film provides an intriguing overview of tea production – from the planting of tea seeds to the final shipping of the precious leaves across the globe.

My Survival as an Aboriginal

1979

Essie Coffey gives the children lessons on Aboriginal culture. She speaks of the importance of teaching these kids about their traditions. Aboriginal kids are forgetting about their Aboriginal heritage because they are being taught white culture instead.

Thread of the Needle

Ano Ravenia, a mountain village in Greece, young men leave to find work, learn a trade or serve in the Army while a young woman may leave her father's house only to enter that of her husband. The unmarried girls remain in the village amoung the elderly folk, meeting together to embroider their trousseaus and chat. In a rural Greek community, it is not the role of women to express their point of view in public. The film allows the spectator to sit in one of these casual sewing sessions where the girls talk about their wishes and problems, most of which revolve around marriages that will change their lives.

My Family and Me

Thanassakis, a 13-year-old boy, is staying with his grandparents in the Greek village of Ano Ravenia, while his parents stay with his younger brother in Zurich, Switzerland. It was filmed during three periods: winter in the village, summer in the village (while his parents, as most migrants, come back for the holidays), and Christmas in Zurich when the grandfather and the young boy visit their family. Who is most important to the young boy - his father or grandfather?

A Venue For The End Of The World

2014 · ★ 6

Haunted by uncanny similarities between Nazi stage techniques and the showmanship employed by modern entertainers, a filmmaker investigates the dangers of audience manipulation and leader worship.

Dawn of the Damned

1965 · ★ 7.4

This excellent feature-length documentary - the story of the imperialist colonization of Africa - is a film about death. Its most shocking sequences derive from the captured French film archives in Algeria containing - unbelievably - masses of French-shot documentary footage of their tortures, massacres and executions of Algerians. The real death of children, passers-by, resistance fighters, one after the other, becomes unbearable. Rather than be blatant propaganda, the film convinces entirely by its visual evidence, constituting an object lesson for revolutionary cinema.