Germaine chez elle

Color-Blind

A synaesthetic portrait made between French Polynesia and Brittany, Color-blind follows the restless ghost of Gauguin in excavating the colonial legacy of a post-postcolonial present.

Ainu Puri

Shigeki, one of the Ainu people of northern Japan, follows the traditions of his ancestors and teaches his son Motoki about their heritage. But how can old customs be revived after centuries of suppression?

Ainu Neno An Ainu

This documentary started as part of a photography project about the indigenous Ainu population in northern Japan, portraying people from tightly knit communities. They feel deeply connected by their culture and tradition. With gorgeous pictures, the directors explore how different generations of Ainu reflect on their identity after centuries of oppression.

The Bounty Hunter of Mongolia

In the Darhat valley in northern Mongolia, the horses of nomadic tribes are stolen by bandits who then sell them to Russian slaughterhouses. Shukhert, a brave horseman, relentlessly pursues them through the Mongolian taiga, bordering Siberia.

Attiuk

The people of Unamenshipu (La Romaine), an Innu community in the Côte-Nord region of Quebec, are seen but not heard in this richly detailed documentary about the rituals surrounding an Innu caribou hunt. Released in 1960, it’s one of 13 titles in Au Pays de Neufve-France, a series of poetic documentary shorts about life along the St. Lawrence River. Off-camera narration, written by Pierre Perrault, frames the Innu participants through an ethnographic lens. Co-directed by René Bonnière and Perrault, a founding figure of Quebec’s direct cinema movement.

A Powerful Noise

Bookended by call-to-action quotes from Margaret Mead and Mahatma Gandhi, this inspiring documentary follows three extraordinary women -- in Bosnia-Herzegovina, Mali, and Vietnam -- as they lead day-to-day battles against ignorance, poverty, oppression, and ethnic strife.

Im Reich Des Squatters

Moana

Robert J. Flaherty’s follow-up to Nanook of the North shifts from the Arctic to the South Seas, portraying Samoan village life with a painterly eye. Blending ethnographic detail with a romanticized “Gauguin idyll,” the film celebrates daily rituals, communal traditions, and the passage into adulthood, suffused with what Flaherty called “pride of beauty, pride of strength.”

Encounters in Yakutia

Taking the form of a travel diary of a television journalist, this documentary tells about the life and work of the people of Yakutia: pilots, artists, drivers, and reindeer herders.

We Are One

Activists around the world fight injustice and drive social change in this documentary that follows their participation in the music video "Solidarité."

Horendi

A seven-day initiation ceremony is documented in which two women undergo ritual healing following a diagnosis of spirit possession, presented without narration, intertitles, or explanatory commentary.

Break Free - Two People. Two Years. One Dream

When Lena and Ulli start the engine of their old Land Rover, Lady Terés, they have a plan: to drive from Hamburg to South Africa in six months. What they don't know yet is that they won't ever get there. Two totally different characters, jammed together in two square meters of space for almost two years, they experience what it really means to travel: leaving your comfort zone for good.

Asante Market Women

As retailers, wholesalers, and negotiators, Asante women of Ghana dominate the huge Kumasi Central Market amid the laughter, argument, colour and music. The crew of this `Disappearing World' film have jumped into the fray, explored, and tried to explain the complexities of the market and its traders. As the film was to be about women traders, an all female film crew was selected and the rapport between the two groups of women is remarkable. The relationship was no doubt all the stronger because the anthropologist acting as advisor to the crew, Charlotte Boaitey, is herself an Asante. The people open up for the interviewers telling them about their lives as traders, about differences between men and women, in their perception of their society and also about marriage.

Ghostland: The View of the Ju'Hoansi

Remember the culture clash in THE GODS MUST BE CRAZY? This time it's real. One of the most ancient cultures on our planet is undergoing a major change. The Ju/Hoansi Bushmen in Namibia are not allowed to hunt anymore and need to converge with our so called “civilized” lifestyle. For the first time the Ju/Hoansi Bushmen travel through the Kalahari and then right into the heart of Europe. What starts as a look at their fascinating culture becomes an even more fascinating look at our Western lifestyle. A warm and humorous reflection of our habits through the eyes of people who are about to give up their million year old traditions.

Dogon Drums, Elements of a Study in Rhythm

The young goat herders from the cliff of Bandiagara practice on the stone drums of their ancestors. An ethnomusicological film experiment describing the subtle plays of the right and left hand of Dogon drummers.

Séo!

The film shows Catherine Destivelle's trip to Dogon Country, in Mali, where she will make spectacular free solo rock climbing ascents in the sun-warmed cliffs of Bandiagara. Destivelle is accompanied on this trip by a friend climber, Lucien Abbet. A film by Pierre-Antoine Hiroz produced in 1987 by Paradoxe and also featuring Tidjani Koné, Ibrahim Dolo, and the Dogon inhabitants of the Bandiagara Escarpment. The film won the Genziana D'argento for best free climbing film at the Trento Film Festival in 1987.

Come Back, Sebastiana

The story of a poor girl who leaves her starving family and sheep for a more prosperous village. Her grandfather finds her and tries to convince her to return to her home.

Forest of Bliss

Forest of Bliss is an unsparing yet redemptive account of the inevitable griefs, religious passions and frequent happinesses that punctuate daily life in Benares, India's most holy city. The film unfolds from one sunrise to the next without commentary, subtitles or dialogue. It is an attempt to give the viewer a wholly authentic, though greatly magnified and concentrated, sense of participation in the experiences examined by the film.