Valentina Llazicani

Suli Kurban

Diana Cisse

Zulpi Kurban

Burkibar Cisse

A television documentary directed by Marcel Ophüls examining the Munich Conference of September 28, 1938, when European leaders met to avert the outbreak of war. Through archival documents and interviews, the film reconstructs the political atmosphere surrounding negotiations between Britain and France on one side and Nazi Germany and Fascist Italy on the other, situating the agreement within the broader context of European appeasement in the face of fascism.

The crowd is the focus of this documentary, which presents historical scenes of the Brazilian Championship. Irreverent and poetic, the movie pays homage to the spectacle provided by football.

For the first time, Esporte Clube Macapá will compete in the Copinha, the world’s largest under-20 football tournament. For young prospects from Amapá, the competition represents a rare chance to gain visibility. In Brazil’s Amazonian north, they are often overlooked — but in the Copinha, their matches will be broadcast nationwide, watched by scouts and agents connected to major clubs.

Based on a poem by a Zimbabwean LGBT activist written in response to the gay hate speech that is being perpetuated president Robert Mugabe. The film was shot in South East London UK with a cast of six women from several African countries playing multiple roles in this portrayal of being a lesbian in homophobic Zimbabwe. Five of the actors and the producer are refugees who fled their countries in fear of persecution for their sexuality.

Crowds is a feature documentary that records popular events of Uruguay where thousands of people gather spontaneously, called by faith, passion, celebration and memory. What happens when we set aside our individuality to act collectively? This documentary observes the passions that draw thousands of people close in order to join in a choral character. It discovers the crowd while it transgresses and experiences catharsis, while it seeks miracles and hopes; in continuous movement it splits and rejoins... until they dissipate and individuals re-emerge in their own solitude.

October 1st, 1957. Dusk descends on Tiananmen Square, Peking. Fireworks crackle light across the night sky, above a city alive with National Day festivities and celebrations. Two intrepid New Zealand film-makers - Rudall and Ramai Te Miha Hayward - are there, documenting the life and times of communist China.  The distinction of being the first English speaking foreigners to film unfettered in communist China was significant. The invitation to visit China was facilitated through the New Zealand China Friendship Society. They filmed in Canton, Shanghai, Peking (Beijing) and Wuhan. It was a small window of opportunity for Westerners to gaze on a country that was largely a mystery to the outside world since 1949.  The unfortunate irony was that two of the documentaries; “Wonders of China”, and “Inside Red China”, were considered to be communist propaganda, and were not distributed outside of New Zealand.