Sacromonte, los sabios de la tribu

You’d never know this is your home away from home. The surveillance camera outside shows a drab reception area and an unremarkable street in Mexico City; inside, the lights flash, but the tables are empty. Yet preparations are soon underway and fixed categories cease to apply: stubble is removed, make-up applied and strands of hair are teased into place; the camera is trained not on the men themselves, but what they see in the mirror.

The first image is in black and white, upside down and projected into a black box that then becomes the frame. It now hovers like a time capsule near a man’s face. He looks down, listening in on a female guerrilla fighter and translating her words from Fulani. Within the capsule, money is counted and paid out as a new currency, the numbers of the years run backwards in the black box. A 16-mm film glides through the man's hands and is transferred to a laptop screen frame by frame.

Every Wednesday at noon, women who were kidnapped for sexual purpose by the Japanese army during its imperialism and their supporters demonstrate against Japanese government to request official apology and indemnity for their crimes. This documentary portrays sexually abused old women's suppressed story of overcoming of their shame and forced silence.

Portraits of contemporary African women from four West African nations: Burkina Faso, Mali, Senegal and Benin.

Friends since high school, 20-somethings Kaleil Isaza Tuzman and Tom Herman have an idea: a Web site for people to conduct business with municipal governments. This documentary tracks the rise and fall of govWorks.com from May of 1999 to December of 2000, and the trials the business brings to the relationship of these best friends. Kaleil raises the money, Tom's the technical chief. A third partner wants a buy out; girlfriends come and go; Tom's daughter needs attention. And always the need for cash and for improving the site. Venture capital comes in by the millions. Kaleil is on C-SPAN, CNN, and magazine covers. Will the business or the friendship crash first?

Eleven-year-old New York City public school kids journey into the world of ballroom dancing and reveal pieces of themselves and their world along the way. Told from their candid, sometimes humorous perspectives, these kids are transformed, from reluctant participants to determined competitors, from typical urban kids to "ladies and gentlemen," on their way to try to compete in the final citywide competition.

Short directed by Agnès Varda in 1986 on the occasion of the 50th anniversary of the French Cinematheque.

In 2007 Mobile, Alabama, Mardi Gras is celebrated... and complicated. Following a cast of characters, parades, and parties across an enduring color line, we see that beneath the surface of pageantry lies something else altogether.

A documentary about the outcome of a decision made by a brother and sister in 1945. One missed meeting, two families, and three generations.

Forget the pie charts, color-coded maps and hyperventilating pundits. What's the street-level experience of voters in today's America? In a triumph of documentary storytelling, ELECTION DAY combines eleven stories-all shot simultaneously on November 2, 2004, from dawn until long past midnight-into one. Factory workers, ex-felons, harried moms, Native American activists and diligent poll watchers, from South Dakota to Florida, take the process of democracy into their own hands. The result: an entertaining, inspiring and sometimes unsettling tapestry of citizens determined on one fateful day to make their votes count.

Documentary that highlights 18 women and covers a period of time from the 50's to the 90's. The women chosen were selected because they represent the real diversity within both feminism and independent film and video. They range in age from 65 to 25. They are black, white, Puerto Rican, Yugoslavian, Asian American, biracial. They are straight, gay and bisexual. What they share is a need to express their own interpretations of what American culture is and could be and a belief that this work is made particularly powerful through the media.