Bricks(1950)

The Future of Mud: A Tale of Houses and Lives in Djenne(en)

Through the story of a mason in Djenne, Komusa Tenapo, and his family, this documentary examines an African tradition of mud architecture in Mali. The environmental genius of these ancient construction techniques—thick walls with tiny windows that keep the interiors cool despite the stifling heat—is expressed in strikingly beautiful designs that have won the town of Djenne designation as a World Heritage site.

Brick(nl)

Jeffrey lives in a small Dutch town with his father and his girlfriend. He is about to become a dad. Working in the local brick factory, he gets to supervise newbee Kevin. When Kevin tries to become intimate with him, Jeffrey knocks him to the ground. Yet he can't seem to get Kevin out of his head and starts to question everything that he was once so sure of.

The Last Brickmaker in America(en)

A man must cope with the loss of his wife and the obsolescence of his job before finding redemption by becoming a role model to an equally lost 13-year-old.

Hellegat(nl)

Sam starts his first week as a helper at a brickyard. He got this job because his new boss is the chairman of the local football team for which he plays. He's a talented goalkeeper. There is much resemblance between Sam and Louis, a 65-year-old who is pottering through the last days before his retirement. They both react strongly to the illegal dumping practices of a firm from the city. But also their boss' hands do not seem to be entirely clean in this business. Will Sam sink into the rut and routine that Louis is rebelling against?

Klinkaart(nl)

During her first day at work in a brickworks near Antwerp at the beginning of the last century, a teenage girl first faces harassment by the boys who work there and then, at the end of the day, she is forced to allow the boss to exercise his "droit de seigneur".

Agents of the Shadows(fr)

Thirteen intelligence agents who have worked on secret missions for Frances DGSE tell their accounts of recruitment, training, and their fears and victories of acting undercover, as well as the effects on their private and personal lives.

A Gamer's Life(en)

Go behind the scenes to uncover the truths of being a professional gamer for a living. Can you really make a living from being a gamer?

Imperfect Journey(en)

Haile Gerima and Ryszard Kapuscinski travel around Ethiopia talking to people about their current situations and what needs to be done for a prosperous country.

Images of Women of the Social Corset(fr)

A man asks himself about the image of women who are offered for his gaze. A documentary about the image of women in fashion, film, and life.

Fontelonga(pt)

Fontelonga is a village of Trás-os-Montes, in the interior of Portugal. A mirror of exile in the eyes of their own people. A reflexion where memory is the last object of beauty and redemption.

Cinéastes de notre temps : Erich von Stroheim(fr)

How I Learned to Love the Numbers(de)

A New York film and at the same time the study of a young man suffering from an obsessive-compulsive disorder (OCD). The Berlin filmmaker Oliver Sechting (37) and his co-director Max Taubert (23) travel to New York with the idea of documenting the art scene there. However, the project is quickly overshadowed by Oliver's OCD, and the two directors fall prey to a conflict that becomes the central theme of their film. Encounters with such artists as film directors Tom Tykwer (Cloud Atlas), Ira Sachs (Keep the Lights On), and Jonathan Caouette (Tarnation) or the transmedia artist Phoebe Legere seem more and more to resemble therapy sessions. At last, Andy Warhol-Superstar Ultra Violet succeeds in opening a new door for Oliver.

Filmmakers of Our Time: François Truffaut or the Critical Spirit(fr)

Ingmar Bergman: The Magic Lantern(en)

The first of two documentaries about Ingmar Bergman produced to mark his 70th birthday. Includes behind the scenes "home movies" from Bergman's personal archive, interviews with Bergman recorded over his 40 years in the film industry and passages from his autobiography read by Max von Sydow and Bergman himself.

Icons(sk)

A film about Slovak icons painted in the period of the late 15th to the early 19th centuries, when original Byzantine icon was ending in Slovak folk art.

Keeping a Distance(sk)

Documentary illustrating the classic principles of Byzantine iconography on the examples of sixteen icons from a museum of ancient Greek art.

Nanook of the North(en)

This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.

Olympia Part One: Festival of the Nations(de)

Starting with a long and lyrical overture, evoking the origins of the Olympic Games in ancient Greece, Riefenstahl covers twenty-one athletic events in the first half of this two-part love letter to the human body and spirit, culminating with the marathon, where Jesse Owens became the first track and field athlete to win four gold medals in a single Olympics.

Olympia Part Two: Festival of Beauty(de)

Part two of Leni Riefenstahl's monumental examination of the 1938 Olympic Games, the cameras leave the main stadium and venture into the many halls and fields deployed for such sports as fencing, polo, cycling, and the modern pentathlon, which was won by American Glenn Morris.

Workers Leaving the Lumière Factory(fr)

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.