Mike Leigh: The Conversation

A discovery of the pictorial art that Ndebele women traditionally practice in South Africa: painting the walls of their houses.

The Numbers Start with the River is a 1971 American short documentary film about small-town life in Iowa. Produced by Donald Wrye for the United States Information Agency, it was nominated for an Academy Award for Best Documentary Short.

The coming of age story of Shéár Avory, a 17 year old trans* aspiring social justice advocate in Los Angeles who navigates housing instability and familial dependency on their journey to adulthood. Shéár depends closely on their mother for continued access to their medical transition, though struggling in her recovery from addiction, she is unable to always offer Shéár the support they need. An observational piece, the film aims to ask, what does coming into adulthood actually look like, for a young Black trans* femme in today’s America?

Hysteria explores issues surrounding women's emotions and sexuality, and their social manifestations.

When does someone stop being a Stranger? In a world emerging from social lockdown, this documentary explores the way communication is changing. Seven participants give us their views on social interactions, before having a conversation with a Stranger. Will this change their perceptions?

The film is a fragmented representation of an artist's experience at an art gallery where Wolfgang Lehmann, as a part of his masterclass, shows 2 of his films and in-between, a film by Kurt Kren.

Thea’s life is changed when she receives an unexpected call from her childhood ‘friend’, May. Memories of the past with May shake Thea out of the mundane and into the queer London landscape; although it doesn’t immediately welcome her with open arms. Except in the form of Mimi, a liberated and fellow queer femme, who shows Thea the unconditional love and friendship that queer community is built off. Inspired by a true story, this heartfelt short film celebrates the magic of queer femme friendship and love.

Along this goal to ski all fifty of "The Fifty Classic Ski Descents of North America", there lies a few cruxes. A few lines that stand out as the ultimate test for skiers. Lines that have seen one, maybe two, ski descents in history. One such mountain that is on that list is Mt. St. Elias in Alaska. Mt. St. Elias is a mythical, foreboding peak that jumps straight out of the ocean, 18,008 feet into the sky. It's renowned for violent storms that come straight off the northern pacific and slam into its icy steeps. It is unknown how many people have ever stood on the summit, but it is known that most people that try, fail. In May of 2021, Cody Townsend, Dan Corn, Nick Russell and cinematographer Bjarne Salen set out to climb and ski this Alaskan beast. This is the tale of their adventure.

Three arrested and detained undocumented immigrants must navigate the system to fight impending deportation.

The director’s mother, Mirka Mora, avoided Auschwitz by one day. On his father’s side many perished in the Holocaust. These facts triggered three visits to Auschwitz by Mora from 2010 to 2014 in an effort to understand and remember.

The film shows one day from waking up in the morning all the way to waking up again the next morning. The everyday situations that many commercials are made of, the little dramas that they create and solve through the product or service they sell, are stitched together into one day. This is a film about the everyday in (German, or Western-European) society because the commercials are part of the everyday of most people (everyone who watches television) and they depict an ideal image of society. The film abundantly uses repetition as an editing technique, in visual ways as described above, but also because commercials can be read in different ways. For instance, Brat baking foil shows up at the evening dinner sequence, when an ovendish is put on the table, and again later on in the sequence about going out to a classic concert, because the clip has classic music.