Endphase tells the story of one the last WWII massacres which was not spoken about for 75 years. In the night of 2 May 1945, 228 Jewish women, children and old men were murdered in Hofamt Priel, a small village in Austria. The perpetrators were never found. The film is a journey into the past of the neighbouring communities Persenbeug and Hofamt Priel, where the brothers Hans and Tobias Hochstöger grew up. In search of an explanation they speak with the last local eyewitnesses and find Yakov Schwarz, the last survivor, and his family in Israel.

In WWII-Italy, the Gestapo blackmails a con man to impersonate a dead partisan commander in order to extract information from his fellow inmates.

In February 1944, in a courtyard at Fresnes Prison, the Germans staged a spectacle to stigmatize a group of communist resistance fighters—all foreigners and mostly Jewish—who had been arrested a few weeks earlier. The propaganda aimed to discredit these fighters, portraying them as terrorists and criminals, even though they had managed to carry out numerous attacks against the occupiers in Paris. The red poster, plastered in thousands of copies across the country, would immortalize them in legend. They were subsequently executed at Mont-Valérien, near Paris. Missak Manouchian, the Armenian who led these fighters, now embodies this group in the collective memory as he is enshrined in the Panthéon, on behalf of all his comrades, 80 years after their execution.

Winter 1942: Like thousands of other German soldiers, Asch and Vierbein have ended up at the Eastern front. Although Vierbein finds a new friend in Kowalski, the squadron commander captain Witterer, a true army veteran, gives them a really hard time. Witterer’s pointless orders reflect the bad habits of many former superiors. And again, Vierbein has to bear the brunt.

A woman - raised in the jungle - tries to help an American stop a native uprising spurned on by Nazis.

A structure-free, four-part examination of the rise and fall of the Third Reich. Each part explores a different topic, from Hitler's cult of personality in propaganda to how said propaganda was associated with pre-Nazi German cultural, spiritual, and national heritage to the Holocaust and the ideology behind it, particularly from Himmler's point of view.

The Law of Silence, a final-year documentary by Moïra Chappedelaine-Vautier at Femis, examines the 1963 Amnesty Law and the consequences it had on studies of the Algerian War. It brings together interviews conducted in 2002 with Henri Alleg, editor of the daily newspaper Alger Républicain from 1951 to 1955, and Pierre Vidal-Naquet, historian and essayist. It also features incredible statements from General Massu and lawyers unraveling the various legal defenses of people like Jean-Marie Le Pen. Not only does Moïra have her father, René Vautier, speak, but she also includes footage he himself filmed forty years earlier. A very interesting report, which notably reminds us that the Amnesty is not a pardon but the erasure of the sentence and also of the crime itself.

Yael Hersonski's powerful documentary achieves a remarkable feat through its penetrating look at another film-the now-infamous Nazi-produced film about the Warsaw Ghetto. Discovered after the war, the unfinished work, with no soundtrack, quickly became a resource for historians seeking an authentic record, despite its elaborate propagandistic construction. The later discovery of a long-missing reel complicated earlier readings, showing the manipulations of camera crews in these "everyday" scenes. Well-heeled Jews attending elegant dinners and theatricals (while callously stepping over the dead bodies of compatriots) now appeared as unwilling, but complicit, actors, alternately fearful and in denial of their looming fate.