This Is Not a Film (2011)

Paulette lives alone in a housing project in the Paris suburbs. With her meager pension, she can no longer make ends meet.

A thrilling mystery that unfurls in the alleys and on the rooftops of the French capital, Paris, over the course of one adventurous evening.

Five broken cameras – and each one has a powerful tale to tell. Embedded in the bullet-ridden remains of digital technology is the story of Emad Burnat, a farmer from the Palestinian village of Bil’in, which famously chose nonviolent resistance when the Israeli army encroached upon its land to make room for Jewish colonists. Emad buys his first camera in 2005 to document the birth of his fourth son, Gibreel. Over the course of the film, he becomes the peaceful archivist of an escalating struggle as olive trees are bulldozed, lives are lost, and a wall is built to segregate burgeoning Israeli settlements.

The Labyrinth 1.0 is a poetic film essay that cites writer and poet Brad Johnson’s poem “The Labyrinth,” published in the anthology Milking Black Bull (1995). Sourcing 16-mm surveillance footage, 16-mm 1970s tearoom porn, and structuralist film footage shot in North Philadelphia, the work visually explores the concept of the labyrinth space as a site for cruising and gesture-based desire. Commissioned by Visual AIDS in 2017 as part of ALTERNATE ENDINGS, RADICAL BEGINNINGS, a program of seven videos prioritizing Black narratives within the ongoing AIDS epidemic curated by Erin Christovale and Vivian Crockett.

Da Fé is hopelessly in love with Gildinha, sister of Bracinho, his best friend. He dreams of winning it, despite competition with Do Morro, the new owner of the DDC, who took over the post after handing the Diaba Loura to the police. To impress Gildinha, Da Fé decides to enter the world of crime. At the same time, she tries to get an exclusive interview with Do Morro for Wanderlei, who works with her in Taras & Tiros magazine.

A police station is in an uproar over a stubborn old man who is desperately trying to get rehired. Despite the lawyer's gentle mediation efforts, the situation spirals out of control.

Jafar Panahi and fellow Iranian director Majid Barzegar take a 20-minute drive to Kiarostami’s grave, during which time “the two friends speak appropriately of cinema, but also censorship and festivals, police power and ideology.”

Zohre's shoes are gone; her older brother Ali lost them. They are poor, there are no shoes for Zohre until they come up with an idea: they will share one pair of shoes. School awaits.

A paralysingly beautiful documentary with a global vision—an odyssey through landscape and time—that attempts to capture the essence of life.

Basque Country, Spain, late nineties. A young policewoman manages to infiltrate the ruthless terrorist gang ETA.