Come Back, Sebastiana (1953)

A documentary on the expletive's origin, why it offends some people so deeply, and what can be gained from its use.

A paralysingly beautiful documentary with a global vision—an odyssey through landscape and time—that attempts to capture the essence of life.

A group of British children aged 7 from widely ranging backgrounds are interviewed about a range of subjects. The filmmakers plan to re-interview them at 7 year intervals to track how their lives and attitudes change as they age.

An unprecedented and intimate look at the life, work and enduring legacy of British actress Audrey Hepburn (1929-1993).

Alexander McQueen's rags-to-riches story is a modern-day fairy tale, laced with the gothic. Mirroring the savage beauty, boldness and vivacity of his design, this documentary is an intimate revelation of McQueen's own world, both tortured and inspired, which celebrates a radical and mesmerizing genius of profound influence.

A visual montage portrait of our contemporary world dominated by globalized technology and violence.

Nine filmmakers each profile a young girl from a different part of the world to weave a global tapestry of youth in the 21st century.

A documentary focused on plastic pollution in the world's oceans.

Megacities is a documentary about the slums of five different metropolitan cities.

On the night of 3 August 1996 a school of striped dolphins ran ashore near the village of Tuo on Ngasinue/Fenualoa Island in the Reef Islands (Solomon Islands). Dolphins have a special kinship-related link to the Aiwoo-speaking people in Tuo. Moffat Bonunga tells the legend or so-called local kastom story that explains why. Moffat's explanations are linked with those of another local expert, Commins Veio, who tells his version of the story to Nathaniel Meningi inside the men's house (sapolau) in Tuo. The night the dolphins run ashore, Moffat immediately contacts the film crew - the villagers want the crew to film this peculiar phenomenon. Although the film focuses on the kastom story and the villagers' re-enactment of the hunt, it also documents the villagers' joy that the sea once again has proved an important source of food.

An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time.

Filmmakers Alan and Susan Raymond spent three months in 1976 riding along with patrol officers in the 44th Precinct of the South Bronx, which had the highest crime rate in New York City at that time.

In front of Jean Rouch's camera, Germaine Dieterlen recalls her ethnographic itinerary, at the Musée de l'Homme, in Mali and in the Paris of the 1930s.

Documents the conflicts and tensions that arise between highland migrants and Mosetenes, members of an indigenous community in the Bolivian Amazon. It focuses particularly on a system of debt peonage known locally as ‘habilito’. This system is used throughout the Bolivian lowlands, and much of the rest of the Amazon basin, to secure labor in remote areas.

A ritual vase, the hampi, is placed in the center of the Musée de plein air de la République du Niger in Niamey, during a ritual ceremony featuring possession dances. With this film, Jean Rouch continues his ethnological and cinematographic study of Songhay ritual objects. He demonstrates that, in a particular context, the transfer of a hampi vase to a museum requires the organization of a ritual ceremony to obtain the gods' approval. At the time, however, reservations about filming a possession dance for the opening of a shrine in a museum made the move "questionable from a museological point of view".