When her husband died Soumicha, mother of three, had to earn a living. She became the only woman taxi driver in Sidi Bel-Abbès, Algeria. This film accompanies Soumicha around a city where religious and political violence rages, and records her experiences in a job normally reserved for men.

Nepalese women are telling their stories arranged marriages. In the jungle of western Nepal lives Fofo, who is married off at the age of 10 to a man of 20. When Thuli becomes a widow after 10 childbirths she is mocked at by both neighbours and relatives. Savitri did not even know the name of the groom she was marrying and she was not even allowed to see him during the wedding ceremony. Nepalese law does not allow child marriage but the law does not reach girls who have never been to school and are living in areas with no roads. This film shows some of the reasons behind the 40 % guerrilla women in the Nepalese Maoist army.

An investigative documentary tracing the life of Dr. Benaouda Benzerdjeb from his studies in Europe to his revolutionary medical work in Algeria, while challenging the colonial narrative surrounding his arrest and martyrdom.

In 1967, Visconti came to Algiers for the filming of The Stranger with Mastroianni and Anna Karina. Camus, during his lifetime, had always refused to allow one of his novels to be brought to the screen. His family made another decision. The filming of the film was experienced in Algiers, like a posthumous return of the writer to Algiers. During filming, a young filmmaker specializing in documentaries Gérard Patris attempts a report on the impact of the filming of The Stranger on the Algerians. Interspersed with sequences from the shooting of Visconti's film, he films Poncet, Maisonseul, Bénisti and Sénac, friends of Camus, in full discussions to situate Camus and his work in a sociological and historical context. “The idea is for us to show people, others, ourselves as if they could all be Meursault, or at least the witnesses concerned to his drama.”

In common with many L.A. Rebellion films, Snake touches on such themes as institutionalized racism, colonialism and the plight of women of color.  Narrated in the first person by the filmmaker as an epistle to her son, The Snake in My Bed tells Diegu's story as a Nigerian woman in Lagos who is romantically pursed by a German national who has “gone native.” Despite his secretive and duplicitous actions, she eventually agrees to marry him and has his child, only to learn that he is a bigamist with a German wife and child.

It's the unforgivable story of the two hundred thousands harkis, the Arabs who fought alongside the French in the bitter Algerian war, from 1954 to 1962. Why did they make that choice? Why were they slaughtered after Algeria's independence? Why were they abandonned by the French government? Some fifty to sixty thousands were saved and transferred in France, often at pitiful conditions. This is for the first time, the story of this tragedy, told in the brilliant style of the authors of "Apocalypse".

This documentary of repressive political realities in Cameroon begins with the 1990 publication of an open letter to President Biya calling for a national conference - and the immediate arrest of the letter's author and publisher. The narration then examines the nation's colonial history, beginning with the first German missionary in 1901, the establishment of schools, French occupation following World War I, the paucity of books written by and published by Cameroonians, and the repression of the CPU, a leftist organization of the 1950s and 1960s. Cameroon and its people are the lark, its feathers plucked first by colonialism and then by native strongmen: 'Alouette, je te plumerai.'

The Fence is a cry! In the aftermath of the civil war which bloodied Algeria, Tariq Teguia interviews the young people of Bab El Oued who express their anger. In the fixed shots in which they testify, Tariq Teguia alternates wanderings in a car which extend those of Ferrailles d’anticipations. And it is the violence of confinement that dominates, coupled with the desire for something impossible elsewhere.