For more than a century the great colonial powers put human beings, taken by force from their native lands, on show as entertainment, just like animals in zoos; a shameful, outrageous and savage treatment of people who were considered subhuman.
Abd Al MalikSelf - Narrator (voice)
Lilian ThuramSelf - Anti-racism Activist
Pascal BlanchardSelf - Historian
Sandrine LemaireSelf - HistorianJohn M. MacKenzieSelf - HistorianNicolas BancelSelf - HistorianJacob CassadySelf - Museum DirectorFanny RoblesSelf - HistorianWalter Palm IslandSelf - Aboriginal ActivistAchille MbembeSelf - Historian
It is the evocation of a life as brief as it is dense. An encounter with a dazzling thought, that of Frantz Fanon, a psychiatrist of West Indian origin, who will reflect on the alienation of black people. It is the evocation of a man of reflection who refuses to close his eyes, of the man of action who devoted himself body and soul to the liberation struggle of the Algerian people and who will become, through his political commitment, his fight, and his writings, one of the figures of the anti-colonialist struggle. Before being killed at the age of 36 by leukemia, on December 6, 1961. His body was buried by Chadli Bendjedid, who later became Algerian president, in Algeria, at the Chouhadas cemetery (cemetery of war martyrs ). With him, three of his works are buried: “Black Skin, White Masks”, “L’An V De La Révolution Algérien” and “The Wretched of the Earth”.
In one of the occupied European cities, the commandant of the garrison gathers a troupe of circus performers. Coming from different countries, they are in the humiliating position of people forced to serve their enslavers. Many of them, recruited from camps and workhouses, were quite content with their lot. Only after a chain of subsequent events, the artists raise an uprising. Unarmed people are not able to resist the arrived guards. They die, but at the cost of their lives they regain their lost human dignity.
Through one woman's experience as an adopted person and also as a mother who relinquished her child in 1971, this documentary highlights the many complex issues associated with adoption.
Vienna’s Prater is an amusement park and a desire machine. No mechanical invention, no novel idea or sensational innovation could escape incorporation into the Prater. The diverse story-telling in Ulrike Ottinger’s film “Prater” transforms this place of sensations into a modern cinema of attractions. The Prater’s history from the beginning to the present is told by its protagonists and those who have documented it, including contemporary cinematic images of the Prater, interviews with carnies, commentary by Austrians and visitors from abroad, film quotes, and photographic and written documentary materials. The meaning of the Prater, its status as a place of technological innovation, and its role as a cultural medium are reflected in texts by Elfriede Jelinek, Josef von Sternberg, Erich Kästner and Elias Canetti, as well as in music devoted to this amusement venue throughout the course of its history.
In this unprecedented primetime program, 50 volunteers take part in experiments without knowing that the aim of the program is to understand the unconscious mechanisms that can lead us to discriminatory behavior. Because if they knew, it would bias the results of the experiments.
Somewhere in Australia in the early 20th century outback, an Aboriginal man is accused of murdering a white woman. Three white men are on a mission to capture him with the help of an experienced Indigenous man.
Beginning just after the bloody Sioux victory over General Custer at Little Big Horn, the story is told through two unique perspectives: Charles Eastman, a young, white-educated Sioux doctor held up as living proof of the alleged success of assimilation, and Sitting Bull the proud Lakota chief whose tribe won the American Indians’ last major victory at Little Big Horn.
Throughout the Islamic world, each year hundreds of women are shot, stabbed, strangled or burned to death by male relatives because they are thought to have “dishonoured” their families. They may have lost their virginity, refused an arranged marriage or left an abusive husband. Even if a woman is raped or merely the victim of gossip, she must pay the price. Crimes of Honour documents the terrible reality of femicide – the belief that a girl’s body is the property of the family, and any suggestion of sexual impropriety must be cleansed with her blood. We meet women in hiding from their families, a brother who describes his reasons for killing the sister he loved, and a handful of women who have committed themselves to the protection of young women in danger of losing their lives.
In recent years, stories of older British women hooking up with younger Gambian men have made news headlines, from one-night stands to whirlwind weddings. But what's the truth behind the stories? Seyi Rhodes investigates.
In 1832 the government of Van Diemen’s Land sent the last Aboriginal resistance fighters into exile at Wybalenna on Flinders Island, bringing an end to the Black War and opening a new chapter in the struggle for justice and survival by Tasmanian Aboriginal people. Black Man’s Houses tells a dramatic story of the quest by Aboriginal people to reclaim the graves of their ancestors against a background of racism and denial. Documenting a moving memorial re-enactment of the funeral of the great chief Manalargenna, the film also charts the cultural strength and resilience of his descendants as they are forced to fight for recognition in a society that is not ready to remember the terrible events of the past.
Former professional footballer Anton Ferdinand explores the issue of racial abuse in the game from a personal perspective. Following a sharp rise in reported incidents of racial abuse in football, Anton talks for the first time about his own highly publicised 2011 incident with the former England captain John Terry. Anton wants to understand his own story and find out what needs to be done to address the problem of racism in the game today. He also confronts the online abuse he has experienced since, which has affected his mental health, his career and the lives of his loved ones
On August 3rd, 1979, a Vietnamese refugee shoots and kills a white crab fisherman at the town docks in Seadrift, TX. What began as a fishing dispute erupts in violence and ignites a resurgence of the KKK and open hostilities against the Vietnamese along the Gulf Coast. Set during the early days of Vietnamese refugee arrival, “Seadrift” examines the circumstances that led up to the shooting, its tumultuous aftermath, and the unexpected consequences that continue to reverberate today.
Power Meri follows Papua New Guinea's first national women's rugby league team, the PNG Orchids, on their journey to the 2017 World Cup in Australia. These trailblazers must beat not only the sporting competition, but also intense sexism, a lack of funding, and national prejudice to reach their biggest stage yet.
The powerful and inspiring true story of the controversial human rights campaigner whose provocative acts of civil diso bedience rocked the British establishment, revolutionised attitudes to homosexuality and exposed world tyrants. As social attitudes change and history vindicates Peter's stance on gay rights, his David versus Goliath battles gradually win him status as a national treasure. The film follows Peter as he embarks on his riskiest crusade yet by seeking to disrupt the FIFA World Cup in Moscow to draw attention to the persecution of LGBT+ people in Russia and Chechnya.
A Victorian surgeon rescues a heavily disfigured man being mistreated by his "owner" as a side-show freak. Behind his monstrous façade, there is revealed a person of great intelligence and sensitivity. Based on the true story of Joseph Merrick (called John Merrick in the film), a severely deformed man in 19th century London.
A few decades after the destruction of the Inca Empire, a Spanish expedition led by the infamous Aguirre leaves the mountains of Peru and goes down the Amazon River in search of the lost city of El Dorado. When great difficulties arise, Aguirre’s men start to wonder whether their quest will lead them to prosperity or certain death.
In the late sixties, Spanish cinema began to produce a huge amount of horror genre films: international markets were opened, the production was continuous, a small star-system was created, as well as a solid group of specialized directors. Although foreign trends were imitated, Spanish horror offered a particular approach to sex, blood and violence. It was an extremely unusual artistic movement in Franco's Spain.
A young girl has already seen everything there is to see and her world has lost all meaning. Her anger shatters her world and she finds herself in the universe of QUIDAM, where she is joined by a playful companion, as well as another mysterious character who attempts to seduce her with the marvelous, the unsettling and the terrifying.
Alegría is a mood, a state of mind. The themes of the show, whose name means "jubilation" in Spanish, are many. Power and the handing down of power over time, the evolution from ancient monarchies to modern democracies, old age, youth - it is against this backdrop that the characters of Alegría play out their lives. Kings' fools, minstrels, beggars, old aristocrats and children make up its universe, along with the clowns, who alone are able to resist the passing of time and the social transformations that accompany it.
From the Italian 'saltare in banco' – which literally means 'to jump on a bench' – Saltimbanco explores the urban experience in all its myriad forms. Between whirlwind and lull, prowess and poetry, it takes spectators on an allegorical and acrobatic journey into the heart and soul of the modern city.