Three generations of the Nabi family flee their home in Aleppo and try to make it to safety in Germany where some members of the family have already settled. Along the way they suffer countless setbacks and heartache.
Since 24 February 2022, when the Russian invasion of Ukraine began, several million refugees have already been taken in by Poles. In the Lublin region, near the Bug River, which marks the border with Ukraine and Belarus, farmers, shopkeepers, a photographer, and a teacher tell how their daily lives have been transformed by the outbreak of this war.
From PBS: Arizona's enforcement-led policy, which grew out of its unique position as a frontline border state, is reshaping the national conversation around immigration reform. With dozens of states considering a similar approach, THE STATE OF ARIZONA holds up a mirror, asking Americans who they are, and who they want to be.
Amine Diare Conde fled from Guinea to Europe at the age of fifteen. His voluntary work makes the 22-year-old the best-known asylum seeker in Switzerland.
This short documentary chronicles the culture and arts of Cambodian Americans and the Lowell, MA community through the eyes of Sokhary Chau, the first Cambodian American Mayor in the United States. Chau immigrated to the U.S. at seven years old to escape the Khmer Rouge genocide. Through this unique story that showcases the best of Lowell—immigrant success, assimilation, history, and the development of the arts—we see a man born into a war-torn country who comes to America to be a first-in-the-nation leader.
A courageous pastor uses his underground network to rescue and aid North Korean families as they risk their lives to embrace freedom.
A documentary that follows Anya, a woman residing in Ukraine during the early stages of the war, who tells her story and contemplates how countries will treat her fellow Ukrainians who were forced to flee.
Per Persson left Sweden 40 years ago. In Pakistan he fell in love and became the father of two daughters. Trouble starts when the girls grow up and the family decides to emigrate to Sweden. When they end up living in a caravan outside Hässleholm, all their expectations are dashed.
Amir, shot during the height of the Afghan civil war in the 1980s, investigates and portrays the life of Afghan refugees living in and around the city of Peshawar in northern Pakistan through the experiences of the musician Amir. The aspirations of Afghan refugees are expressed through their political songs dealing with the civil war in Afghanistan, with exile, with Afghan nationalism and with the Islamic revolution. In highly charged and tragic circumstances, music can be used in very direct ways, both to promote solidarity and as an agent of catharsis.
Australian filmmaker Sophia Turkiewicz investigates why her Polish mother abandoned her and uncovers the truth behind her mother's wartime escape from a Siberian gulag, leaving Sophia to confront her own capacity for forgiveness.
A computer screen, images from the four corners of the world. We cross borders in one-click while another trip’s story reach us in bits, through text messages, chats, phone conversations, and an immigration office’s questionnaire. It’s the journey of Shahin, a 20-year-old Iranian boy who, fleeing his country alone, lands in Greece, then winds his way to England where he claims asylum.
A prefabricated estate in Moscow is meant as a transit stop for four queer Cuban exiles – until Russia’s attack on Ukraine radically shifts their outlook. Moving telephone calls back home provide the structure of Luís Alejandro Yero’s debut work.
[ÒDIO] is a polyphonic work that resonates as a choral dramaturgy: a fabric of gazes and contrasting testimonies on the spread of violence, emerging from encounters with dozens of young people of various nationalities and backgrounds. A three-chapter documentary film that we shot by placing a lightweight blue photographic backdrop in schools, cultural spaces, and reception centers, starting from Rimini, then Rome (the Quarticciolo district) and Hamburg. [ÒDIO] is the final destination of our long theatrical research into the novel Frankenstein (or the Modern Prometheus).
It is winter at an emergency shelter for the homeless in Lausanne. Every night at the door of this little-known basement facility the same entry ritual takes place, resulting in confrontations which can sometimes turn violent. Those on duty at the shelter have the difficult task of “triaging the poor”: the women and children first, then the men. Although the total capacity at the shelter is 100, only 50 “chosen ones” will be admitted inside and granted a warm meal and a bed. The others know it will be a long night.