Jason Mittell

A video essay by Mark Rappaport, which spans René Magritte and Michelangelo to Bonnie & Clyde. Let’s mask up to rob a bank! But make sure that you are home before the curfew.

Insights into the automobile production line at Studebaker.

Arvitarniit is a series of short videos presenting the journeys of inspiring post-secondary students from Nunavik. In this clip, we invite you to meet Louisa Papigatuk Argun, from Salluit.

Meet Duewand Collier Jr.-Male, 68 years old, American Citizen, a child conceived in the backdrop of the Philippines-American Mutual Defense Treaty, born and raised with Catholic guilt. He has made peace with his past and now tells his story-a story of love.

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on.  Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

In Presidio, Texas, it is customary to hear Norteña music, typically Mexican, in the bars of the city. John Ferguson, american, governs the 4,426 inhabitants of the small town, is the principal of the city high school. As mariachi, John and Mariachi Santa Cruz also play in nearby Ojinaga, Mexico, distant the Rio Grande river from Presidio. The need to understand the history that binds Mexico to the United States, during one of the periods where the thread that weaves them seems to have become tangled. Viva Presidio! tells the story of a man whose ethnicity represents 2% of the population who voted to elect him, of the affection for his city and of the walls and customs in a reality where, the real cultural accents,represent an element of union between two communities in conflict today.

In Les Portes d’Arcadie, we are at the heart of a reception center for asylum seekers. The director gives a voice to people persecuted because of their sexual orientation, in their country of origin. Already gone, but not yet in a new home, these displaced people are looking for themselves as much as they are looking for the words to describe what they have known and left behind. What awaits them? It is not certain. But at least they can hope to finally be (re) recognized for themselves. This crossing, as much as this quest for identity, is at the heart of this documentary.