Along the sidewalks and cafés of Seine-Saint- Denis, groups of young men, dressed in hoodies and streetwear, talk with remarkable bluntness and honesty about love, desire, sex, and race. As one man says “White people experience love They were taught how.” Made with a shattering level of intimacy, Alice Diop’s film is both a cinepoem and a piercing statement on the nature of disenfranchisement.
Chris Marker’s expansive, nay, insanely encompassing portrait of his friend and colleague, Aleksandr Ivanovich Medvedkin begins with Medvedkin assailing the screen and stating: “Chris, you lazy bastard, why don’t you ever write to me, send me a letter, even that short...” So begins this epistolary film, composed of six different letters, each corresponding to a period of Medvedkin’s life and work. The film is Marker’s post-mortem answer (and tribute).
From Egypt’s post-Arab Spring elections to Israel’s “Apartheid Road” to Turkey’s sprawling Syrian refugee camps, journalist Jesse Rosen- feld moves swiftly between countries and areas of conflict as stories surface. Freelancer on the Front Lines reveals how the news is made and disseminated. More than just informing his readers of disturbing events, Rosenfeld hopes to evoke real change through his writing.
Yan Chun Su observes the last of Tibet’s drokpa (nomads) as they lead herds of yak and sheep over hilly grasslands. No longer limitless, the drokpa move across the section of pasture randomly allotted to them by the Chinese government. The film captures the last years of an agentive people caught inside a political and ecological landscape beyond their control.
Dolores Huerta may just be the most vocal activist you’ve never heard of. Along with Cesar Chavez, Huerta was responsible for organizing minority farm workers all across California and founding United Farm Workers Dolores is a vibrant and long overdue tribute to a trailblazing 20th century feminist.
For two years, Belgian director Jérôme le Maire followed the members of a surgical unit at one of Paris’ biggest hospitals. The result is gripping and infuriating, tragic and ridiculous. It’s like ER meets The Office, as directed by D. A. Pennebaker.
Without preamble, Ambulance opens on a community in panic. A bomb has just fallen, turning the home of filmmaker Mohamed Jabaly’s neighbour into a pile of rubble. So begins a close-up view of war that barely gives us time to catch our breath, let alone consider the broader context.