For months filmmaker Thierry Knauff lived with the Cameroonian tribe, the Baka. This is his document of that time.
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At dawn a nomad caravan descends on Aq Kupruk from the foothills of the Hindu Kush. In their camp, and in commerce with the townspeople, the Maldar reveal the mixture of faith and distrust that has kept nomads and sedentary people separate and interdependent over the centuries. The theme of the film focuses on political and religious beliefs. The film and accompanying instructor notes in this series embrace five different and complex units of analysis concerning how political change occurs; individual attitudes, ethnic identity, national loyalties, institutional affiliations, and ideological beliefs.
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.
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.
This intimate ethnographic study of Voudoun dances and rituals was shot by Maya Deren during her years in Haiti (1947-1951); she never edited the footage, so this “finished” version was made by Teiji Ito and Cherel Ito after Deren’s death.
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.
The Greek shadow puppetry began 130 years ago. A student of Greek shadow puppetry travels to China, where shadow puppetry began over 2000 years ago. There he follows Chinese shadow puppeteer master He Shihong in Wushan of China. Watching his performances and listening to him talk about his art and his career in it, many parallels are drawn and he expresses them by including his Greek shadow puppetry teacher in the film. This documentary is a cultural bridge between Greece and China through the art of shadow puppetry.
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?
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.”
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.
David and Judith MacDougall are exploring the marriage rituals and roles of Turkana women in this ethnographic documentary. The film's biggest part is taken up by talks between the Turkana people. As one of the first ethnographic documentaries "A Wife Among Wives" subtitles these talks so that the viewer can get a better and probably more personal understanding of the life of the Turkana.
An account of the journey that King Alfonso XIII of Spain made to the impoverished shire of Las Hurdes, in the province of Cáceres, in the region of Extremadura, in 1922.
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.
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.
A unique 'direct cinema' feature length documentary (no narration or interviews) originally filmed in the Spring of 1970 and concluded during the Summer of 2017 (footage added, restored, and re-edited). A day in the life of an inner-city Harlem elementary school. In 2018 filmmaker Phil Gries reunited with seven of his former Harlem elementary students whom he hadn't seen in 50 years.
An ethnographic documentary about the Mangbetu tribe of the Belgian Congo (now the Democratic Republic of the Congo). The film features a discussion of various rites including the Mangbetu practice of head binding, as well as various examples of traditional music and dance.
AMIN portrays Qashqai musician Amin Aghaie, a young modern nomad and his family who despite facing steep financial, cultural and political obstacles are dedicated to their art and culture. Amin travels to remote towns and villages to record the music of the surviving masters whose numbers decline each year. His nomadic family are selling their meager belongings to help support their son's education in performance and ethnomusicology at Tchaikovsky's Conservatory in Kyiv, Ukraine, but it is not enough. Amin, desperate to finish his academic education, sells his violins one at a time just to pay for his tuition.
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.
In Sangha, through the window of her house, Germaine greets Djamgouno, her main informant. He then translates for her a conversation she has with a half-blind old man. She recounts her memories of a past party at which Amadigné worked with her as an informant. Later, in front of the cliff, Germaine, Djamgouno and Pangalé are sitting on rocks, and Germaine talks about the many caves that can be visited by climbing small spelunking ladders. Rouch intervenes during the interview, asking the protagonists about the settlement of the cliff by the Dogon, who learned from the Tellem how to climb the cliff. Rouch then asks about the Tellem's predecessors who lived there 2,400 years ago. Germaine admits the ignorance of researchers on the subject, and Rouch concludes by joking about the new task that now falls to Germaine Dieterlen.
A woman narrates the thoughts of a world traveler, meditations on time and memory expressed in words and images from places as far-flung as Japan, Guinea-Bissau, Iceland, and San Francisco.
John Shepherd spent 30 years trying to contact extraterrestrials by broadcasting music millions of miles into space. After giving up the search, he makes a different connection here on earth.
A documentary on the expletive's origin, why it offends some people so deeply, and what can be gained from its use.
Renowned Iranian director Jafar Panahi received a 6-year prison sentence and a 20-year ban from filmmaking and conducting interviews with foreign press due to his open support for the opposition party in Iran's 2009 election. In this film, which was shot secretly by Panahi's close friend Mojtaba Mirtahmasb and smuggled into France on a USB stick concealed inside a cake for a last-minute submission to Cannes, Panahi documents his daily life under house arrest as he awaits a decision on his appeal.
The subject of the film was the Hauka movement. The Hauka movement consisted of mimicry and dancing to become possessed by French Colonial administrators. The participants performed the same elaborate military ceremonies of their colonial occupiers, but in more of a trance than true recreation.
A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.
A depiction of the Wrangelkiez neighbourhood in Berlin. The people portrayed tell their life stories. One woman came to the neighbourhood a decade ago to work in Berlin’s still unfinished Brandenburger Airport, one man reminisces his childhood on a Tobacco farm in Kentucky, another speaks of an exceptional day in an otherwise monotonous workplace. These portraits are interwoven with the story of Elpi, a Greek woman who is waiting for the long overdue visit of an old important friend. The outcome of this mixture is a film which captures the lives and perspectives of some of Wrangelkiez’s most commanding citizens, while at the same time evoking the loss that change and time passing means for places and for people.
Lyrical and powerfully personal essay film that reflects on the deaths of her husband Lou Reed, her mother, her beloved dog, and such diverse subjects as family memories, surveillance, and Buddhist teachings.
Amber Heard and Nicole Kidman discuss their characters Mera and Atlanna.
A documentary about how a dominant cultural and demographic institution both sustains their traditional activities and adapts to the digital revolution.
While in San Francisco for the promotion of her last film in October 1967, Agnès Varda, tipped by her friend Tom Luddy, gets to know a relative she had never heard of before, Jean Varda, nicknamed "Yanco". This hitherto unknown uncle lives on a boat in Sausalito, is a painter, has adopted a hippie lifestyle and loves life. The meeting is a very happy one.
A visual montage portrait of our contemporary world dominated by globalized technology and violence.
A detailing of the rise to prominence and global sporting superstardom of six supremely talented young Manchester United football players (David Beckham, Nicky Butt, Ryan Giggs, Paul Scholes, Phil and Gary Neville). The film covers the period 1992-1999, culminating in Manchester United's European Cup triumph.
A documentary focused on plastic pollution in the world's oceans.
Bomman and Bellie, a couple in south India, devote their lives to caring for an orphaned baby elephant named Raghu, forging a family like no other.
Naples, Trajan's district. Initially it was intended for the inhabitants of the shantytowns on the seafront of Naples, who were homeless after the war. But it soon became a kind of ghetto. Alessandro and Pietro are two teenagers who film with an iPhone to tell their difficult neighborhood, their daily life, the friendship that binds them.
A documentary on why 'Money Heist' sparked a wave of enthusiasm around the world for a lovable group of thieves and their professor.
Following a newspaper ad, ordinary women tell part of their life stories to director Eduardo Coutinho, which are then re-enacted by actresses, blurring the barriers between truth, fiction and interpretation.
This character-driven film considers the evolving sex trafficking landscape as seen by the main players: the exploited, the pimps, the johns that fuel the business, and the cops who fight to stop it.
As a visually radical memoir, CAMERAPERSON draws on the remarkable footage that filmmaker Kirsten Johnson has shot and reframes it in ways that illuminate moments and situations that have personally affected her. What emerges is an elegant meditation on the relationship between truth and the camera frame, as Johnson transforms scenes that have been presented on Festival screens as one kind of truth into another kind of story—one about personal journey, craft, and direct human connection.
