In the mid-1990s, Dieter Dubbert accidentally ends up with the Miskito Indians in Bismuna, Nicaragua. Here he begins to work with drug-addicted and delinquent young people from Germany who would otherwise disappear into homes and prisons.
Social & External
Self
At a public hospital in Nicaragua, Ob/Gyn Dr. Carla Cerrato must choose between following a law that bans all abortions and endangers her patients or taking a risk and providing the care that she knows can save a woman's life. In 2007, Dr. Cerrato’s daily routine took a detour. The newly elected government of Daniel Ortega, a former Marxist revolutionary who converted to Catholicism to win votes, overturned a 130-year-old law protecting therapeutic abortion. The new law entirely prohibits abortion, even in cases of rape, incest, or when a woman’s life is at stake. As Carla and her colleagues navigate this dangerous dilemma, the impact of this law emerges—illuminating the tangible reality of prohibition against the backdrop of a political, religious, and historically complex national identity. The emotional core of the story—the experiences and situations of the young women and girls who are seeking care—illustrate the ethical implications of one doctor's response.
Sixteen female sex workers have been named judicial aides by Nicaragua’s Supreme Court to facilitate the resolution of conflicts that come up in their work. It is the first time in the world that sex workers have had access to this function. The film accompanies some of these women in their mediation work and in the actions they promote through their association, Girasoles (Sunflowers) of Nicaragua, to gain recognition and regulations for autonomous sex work.
This third opus will take us into the homes of some of the Adamant and Averroes & Rosa Parks’ protagonists, during the visits led by their caregivers.
Plastic artist Aparicio Arthola talks with his student about the catarsis in his creative process, the loss, death and uncertainty of art life in Nicaragua
Portrait of a group of 150 U.S. citizens who spent two weeks participating in the cotton harvest in a remote village in Nicaragua, seeing for themselves the impact of the U.S.-backed Contra war.
It Kinda Scares Me is a documentary about a drama coach and the “delinquent” boys he teaches. In their world, bravado is everything and Friday nights are for getting into fights. Tomer Heymann, both filmmaker and drama coach, encourages the boys to create something from their pain and marginalization, while they struggle in rehearsals to preserve their much-prized Israeli machismo. When Tomer announces to the group that he is gay, they are shocked, but his commitment to their play wins the day as they prepare for a performance that will give voice to the lives of disaffected Israeli youth.
Composed of stills by renowned Magnum photographer Susan Meiselas taken in 1978 and 1979 during the overthrow of the fifty-year dictatorship of the Somoza family. Written in the form of a letter from Meiselas to Karlin, it is a ruminative and often profound exploration of the ethics of witnessing, the responsibilities of war photography and the politics of the still image.
Shot in 1983–84 and focusing on the work of the Historical Institute, this film witnesses how Nicaraguans are recovering their history, the memory of Sandino’s struggle, to transform their sense of identity.
Through the eyes of journalists and photographers working at Barricada, the official publication of the FSLN, the film observes the problems of putting socialism into practice, with reports on the war, the economy, the prison system and the political process leading up to the 1984 elections.
A portrait of a remote area in the rural north of Nicaragua facing difficulties with the revolutionary process. It follows Marlon Stuart, the regional FSLN political organiser, at the time of the 1984 elections.
¡Las Sandinistas! uncovers the disappearing stories of women who shattered barriers to lead combat and social reform during Nicaragua’s 1979 Sandinista Revolution, and who continue to lead Nicaragua’s current struggle for democracy and equality.
The film is about aftermaths and reckonings. Revisiting material for his earlier 4-part series, Karlin returns to Nicaragua to examine the history of the Sandinista government, consider its achievements, and assess the prospects for democracy following its defeat in the general election of 1990.
Juan “Accidentes” Dominguez is on his biggest case ever. On behalf of twelve Nicaraguan banana workers he is tackling Dole Food in a ground-breaking legal battle for their use of a banned pesticide that was known by the company to cause sterility. Can he beat the giant, or will the corporation get away with it?
It's December 16, 1972, 50 years ago. The first social cooperative in the world is born in Trieste. It was formed by 28 people: two sociologists, two psychologists, five nurses, a healthcare assistant, two doctors and sixteen private individuals who all have the same residential address: via San Cilino 16, Trieste. They are interned in a psychiatric hospital and therefore have no civil and political rights: they cannot vote, marry or make a will. Imagine founding a cooperative. Thus the Court of Trieste rejected the request to establish the cooperative. It would have been a long march through the institutions.
Young people who have to survive without a home base are helped on their way to a life on their own two feet at Wonen Met Kansen. Little by little, with trial and error, but with the rock-solid confidence that the supervisors have in them.
Looking for a few reasons why you should visit Nicaragua? Considering the country's two incredible coastlines, almost 20 volcanoes, lively colonial cities, abundant wildlife, rich culture, and delicious food, it won't be hard to convince you to put “visiting Nicaragua” at the top of your travel bucket list! Nicaragua, set between the Pacific Ocean and the Caribbean Sea, is a Central American nation known for its dramatic terrain of lakes, volcanoes and beaches. Vast Lake Managua and the iconic stratovolcano Momotombo sit north of the capital Managua. To its south is Granada, noted for its Spanish colonial architecture and an archipelago of navigable islets rich in tropical bird life.
The filmmaker delves into her family's past and the seemingly intact world of childhood begins to fall apart. Here, the private sphere reflects the helplessness and excessive demands of German society in the 1970s - between the shadows of the National Socialist past and new utopias.
Three Nicaraguan-American artists from the Washington D.C. Metro area discuss growing up in two cultures and how it influences their art.