Jean-Luc Mélenchon, l’homme qui avançait à contre-courant

50 years after the death of General De Gaulle, this film retraces his life, from his birth in 1890 to his burial at Colombey-Les-Deux-Eglises in 1970.

In the German-occupied Paris, Helene is torn between the love for her boyfriend Jean, working for the resistance and the German administrator Bergmann, who will do anything to gain her affection.

With heart and determination, Antoine Griezmann overcame his small stature to become one of the world's top soccer players and a World Cup champion.

A young Roberto Benigni in one of his first public show in Florence at Parco delle Cascine.

The personal stories lived by the Uncle, the Father and the Son, respectively, form a tragic experience that is drawn along a line in time. This line is comparable to a crease in the pages of the family album, but also to a crack in the walls of the paternal house. It resembles the open wound created when drilling into a mountain, but also a scar in the collective imaginary of a society, where the idea of salvation finds its tragic destiny in the political struggle. What is at the end of that line? Will old war songs be enough to circumvent that destiny?

A promotional film about the U.S. Republican party drafting volunteers on Election Day, encouraging their fellow party members to vote and helping them get to their polling place.

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

Our government is broken, and we have to fix it. RepresentUs board member Jennifer Lawrence and Director of RepresentUs Josh Silver, walks through three lines that show what's wrong with legal corruption in our government, how we fix it and what you can do about it.

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.