Połączeni

An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time. (Silent short, voiced in 1937 and 1996.)

Created by Sampo Vallotton & Laurent De Martin, this unexpected short movie is a visual manifesto of their first winter with the new Simply. tools. This movie came together organically as they were surrounded by talented filmmakers and photographers whom they can proudly call friends.

Lake Effect is a two-year Michigan ski film highlighting the joys of backyard adventure and the shifting perspective of Mike King, a professional skier who for a decade has only sought adventure from the peaks of mountain tops in the far reaches of the West. In 2020 when Covid encouraged lockdowns & travel restrictions, Mike's life on the road came to a screeching halt. This abrupt change inspired Mike to take the hurdle as an opportunity to rediscover the unique, untapped terrain, ski culture, and the people thriving right here in his home state of Michigan. Throughout filming Lake Effect Mike realized you don't need to travel far to have an epic adventure. Rather some creativity, curiosity, and the willingness to walk out the door to the abundance that starts right in our backyards.

Between Parc-Extension and the town of Mont-Royal, a scar in space creates a strange dichotomy between two neighborhoods.

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.

Nathan Quinell is a fully trained chef… he also happens to be legally deaf and blind. That’s never stopped him from chasing his dreams to become a full-time cook, but now Nathan must prove himself to his peers, his students and potential employers.

Twenty-two years after the massacre perpetrated by paramilitary groups in complicity with the government, the people of Acteal celebrate their martyrs and persist in their demand for justice.

In this revealing study of Norval Morrisseau, filmed as he works among the lakes and woodlands of his ancestors, we see a remarkable Indigenous artist who emerged from a life of obscurity in the North American bush to become one of Canada's most renowned painters. Morrisseau the man is much like his paintings: vital and passionate, torn between his Ojibway heritage and the influences of the white man's world.

The Kurdish Iraqi poet and actor Zeravan Khalil travels with his dog through an Alpine gorge after fleeing from IS war and genocide. As he remembers the abomination, he writes a poem with the title “You drive me mad” in Kurmanji Kurdish. In his home country, Yazidic Kurds are forbidden to work in his profession. Then he eats his apple and wanders through Europe’s middle with more hope.

The subject matter of Memory Room 451 is the cultural and historical significance of 20th-century hairstyles – the Afro, the conk, dreadlocks – in Black communities on both sides of the Atlantic. Akomfrah has disguised this exploration as a science fiction story – in the manner of the groundbreaking writers profiled in The Last Angel of History – while providing a bravura display of the aesthetics of video art in the 1990s. The tale of visitors from the future who gather dreams from unwitting subjects in order to construct a history of the Black diaspora both defamiliarizes Akomfrah’s ongoing project and points to the danger that extracting history from memory can be a kind of expropriation.

Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.