NDDJ (Notre-Dame-du-Jambon)(2022)

The Wolf Suit(en)

How much can you trust your childhood memories? Director Sam Firth investigates, sweeping her parents into the experiment and on a journey into the past.

Arabic Secret(pl)

One who doesn't have roots won't be able to grow wings-a documentary project about a man tracking his origins to the Middle East and establishing a connection with his father, whom he have never met before.

Dixieland: Little Kids Big Dreams(uk)

Little kids, big dreams and smashingly good music – Dixieland follows the amazing progress of four members of a Ukrainian children’s brass band from Kherson. Through steady practice under the wildest of conditions, Roman (12, trumpet), Polina (10, trombone, drums and many other instruments), Nikita (12, drums) and Nikita (14, piano) produce magical music with ancient, wobbly instruments. Not least due to their wit and good humor, they persevere together, helped along by their 80+-year-old conductor and a young teacher. These children of the post-Soviet provinces use American tunes to achieve their dream – to become someone in the world and make something of their lives, no matter how dire the circumstances. From the authors of an awards winning documentary film Ukrainian Sheriffs.

My Home(cs)

This picturesque Ukrainian farm is not surrounded by fields, but by huge housing developments. Ominous cranes overlook Natasha's land at the edge of Kyiv, which year after year is being pushed deeper into a pit by new panel buildings. The brave owner protects not only acres of land, but also traditional family values, faith and ownership. From a bird's-eye view of the farm, a sharp contrast emerges between the village and the city. This peculiar family business model is set forth in a four-year chronicle from the point of view of foreign visitors who don't interfere with the way of life that the family has lived for generations.

A Way of Saying(es)

A filmmaker's poetic memories of her father.

DUVA(es)

Two years after an injury halted his career, Germán, a two-time Olympic medalist, returns to competitions with the desire to win one last medal.

My Lone Father(fr)

On the age of 51, a father leaves his family to live as a carpenter. Away from the family and house burdens, he spends his last 15 years living alone. From the point of view of his child, the idealistic father then changes his mind to let go of everything and lives his dream of traveling.

Pour mes fils, mon silence est impossible(fr)

Nine Moons(he)

An intimate diary of a young woman whose pregnancy causes her to suffer from enhanced nightmares, anxieties about her soon to be born baby girl and makes her question motherhood as she knows it, through her own mother and grandmother.

Mémé(fr)

Miguelito - Canto a Borinquen(en)

In 1973, eleven year old Miguelito was discovered singing in the San Juan airport by the legendary New York record producer Harvey Averne. Within the year, he went from the slums of Manuel A Perez, to recording an album with some of the finest salsa musicians of the time to finally performing with Eddie Palmieri at Madison Square Garden in front of 20,000 people. Throughout Latin America his songs ‘Payaso’ and ‘Canto a Borinquen’ had become cult hits. And then he simply disappeared...

Les héritiers(fr)

Gilles Groulx's first film shot in 1955 with a camera borrowed from his brother and edited during his spare time when he worked as an editor at the Radio-Canada news service a few years before he joined the NFB. Silent film, presented as its author left it, where the soil and the dialectic of Groulx's work are already there: documentary realism, the social space to be explored, daily life, the relationship between individual and society, social disparities, the consumer society, seduction and happiness.

Entretien en six temps avec Gilles Groulx(fr)

This feature-length documentary brings together six of the rare television interviews given by Gilles Groulx between 1966 and 1983. Through these interviews, the filmmaker's ethical and aesthetic concerns are revealed. A striking coherence emerges in his thinking regarding his conception of cinema and the role the filmmaker should play in his culture and society.

Ka Ke Ki Ku(fr)

This early work from Pierre Perrault, made in collaboration with René Bonnière, chronicles summer activities in the Innu communities of Unamenshipu (La Romaine) and Pakuashipi. Shot by noted cinematographer Michel Thomas-d’Hoste, it documents the construction of a traditional canoe, fishing along the Coucouchou River, a procession marking the Christian feast of the Assumption, and the departure of children for residential schools—an event presented here in an uncritical light. Perrault’s narration, delivered by an anonymous male voice, underscores the film’s outsider gaze on its Indigenous subjects. The film is from Au Pays de Neufve-France (1960), a series produced by Crawley Films, an important early Canadian producer of documentary films.

Una Tarde con los Valdemar(es)

Back to the light(es)

Just Watch Me: Trudeau and the 70's Generation(en)

Canadian director Catherine Annau's debut work is a documentary about the legacy of Pierre Trudeau, the long-running Prime Minister of Canada, who governed during the 1970s. The film focuses particularly on Trudeau's goal of creating a thoroughly bilingual nation. Annau interviews eight people in their mid-30s on both sides of the linguistic divide. One tells of her life growing up in a community of hard-core Quebec separatists, while another, a yuppie from Toronto, recalls believing as a child that people in Montreal got drunk and had sex all day long. Annau has all of the interviewees discuss how Trudeau's policies affected their lives and their perceptions of the other side, in this issue that strikes to the heart of Canada's national identity.

L'angoisse du héron(fr)

My Brother the Terrorist(en)

In this sequel to "My brother the Islamist," we continue to follow Robb Leech as the tries to understand his stepbrother's journey and transformation from middle-class boy to convicted terrorist.

Welcome Home Freckles(ko)

After four years away, Huiju returns home to South Korea. Exchanges with her loved ones are awkward and clumsy. Huiju turns once again to her familiar rituals: pruning the trees, preparing a sauce, tying a braid.