A Beqaa Valley refugee camp is seen through the eyes of Asma, an 11-year-old Syrian girl.

In the privacy of her own home, a Syrian woman shares her thoughts and feelings, talking about her existence, and her desire to be open about her sexuality in a conservative society.

Shot by a reported “1,001 Syrians” according to the filmmakers, SILVERED WATER, SYRIA SELF-PORTRAIT impressionistically documents the destruction and atrocities of the civil war through a combination of eye-witness accounts shot on mobile phones and posted to the internet, and footage shot by Bedirxan during the siege of Homs. Bedirxan, an elementary school teacher in Homs, had contacted Mohammed online to ask him what he would film, if he was there. Mohammed, working in forced exile in Paris, is tormented by feelings of cowardice as he witnesses the horrors from afar, and the self-reflexive film also chronicles how he is haunted in his dreams by a Syrian boy once shot to death for snatching his camera on the street.

Documentary following a team of technicians in Italy as they reconstruct a number of historic Middle Eastern artifacts that were vandalized at the hands of Islamic State.

Ekhlas Alhlwani was forced to flee Syria with her three children and now lives in Zaatari, a refugee camp in the Jordanian desert. Rizzi spent seven weeks observing her and other women's daily life, which is devoid of any prospects. He shows how Alhlwani makes every effort to establish some kind of normality for her family despite the difficult camp conditions. The film vividlyconveys the cruelty of war, and especially the state o funcertainty and rootlessness to which refugees are exposed.  The film is the first part of a trilogy that focuses on the emergence of a new civil consciousness in Malaysia, Tunisia, Egypt, Bahrain and Syria, as well as the social implications of the end of post-colonialism in these countries.

As politicians debate and argue, the men, women and children at the heart of the European immigration wave have found themselves caught in the midst of a humanitarian crisis. On the frontline is the Greek island of Lesvos – the first point of entry into Europe for over half of the refugees. One week at the end of August 2015 marked a tipping point in the crisis. More refugees arrived than ever before, volunteers were inundated and local infrastructure just couldn’t cope; trains were overflowing, refugees were dying in the back of lorries and on beaches, and politicians responded by closing borders and arguing about how to stem the tide of people. Filmed over just five days, this first-hand account of that dramatic week on Lesvos is seen through the eyes of the refugees and volunteers caught in the crisis.

A 3-year-old girl and her family's long journey from a Greek refugee centre to Uppsala.

THE STORY WON’T DIE, from Award-winning filmmaker David Henry Gerson, is an inspiring, timely look at a young generation of Syrian artists who use their work to protest and process what is currently the world’s largest and longest ongoing displacement of people since WWII. The film is produced by Sundance Award-winner Odessa Rae (Navalny).  Rapper Abu Hajar, together with other creative personalities of the Syrian uprising, a post-Rock musician (Anas Maghrebi), members of the first all-female Syrian rock band (Bahila Hijazi + Lynn Mayya), break-dancer (Bboy Shadow), choreographer (Medhat Aldaabal), and visual artists (Tammam Azzam, Omar Imam + Diala Brisly), use their art to rise in revolution and endure in exile in this new documentary reflecting on a battle for peace, justice and freedom of expression. It is an uplifting and humanizing look at what it means to be a refugee in today’s world and offers inspiring and hopeful vantages on a creative response to the chaos of war.