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In January 2011 Paul Crane discovered a tent city in downtown St. Louis, along the Mississippi River. He was curious as to who these people were, how they ended up there, and what life was like for them each day. He initially thought he would simply go down during the day and capture footage when possible, but he quickly realized that if he wanted to truly capture how these people lived and the full reality of their collective and individual existence, he would have to be there full time and become a part of the place, so he moved in with them.

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Our Journey Home(en)

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Where we come from shapes who we are, and how others see us. Home gives us a sense of belonging and stability. It’s so much more than just a physical structure. It’s our safety, our refuge, our launch pad. Yet, so many people in the U.S. face housing instability and homelessness. A shocking 76% of Americans live paycheck-to-paycheck. They are just one accident or injury away from losing everything. Losing a place to call their own. Our Journey Home explores how home shapes us and challenges our perceptions about people in need of public housing. The film examines the role we all play in supporting those who struggle in having a stable place from where they can grow and dream.

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49 Up
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49 Up(en)

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For five years, Stephen McCoy documented street life in Boston. This is what he captured.

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Beat Goes On
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Beat Goes On is an impressionistic portrait of the activist Keith Cylar (1958–2004), co-founder of Housing Works and a central figure in the AIDS Coalition To Unleash Power (ACT UP) NY. Cylar spoke clearly, frequently and with moral force about the struggles of people living with HIV/AIDS in New York City, many of whom were impoverished and struggling with multiple social and medical problems. His openness about his own drug use and the centrality of the fight against the criminalization of drugs for AIDS activism make Cylar's legacy especially resonant and relevant at this time. Commissioned by Visual AIDS in 2019 as part of STILL BEGINNING, a program of seven short videos responding to the ongoing HIV/AIDS epidemic.

Carts of Darkness
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Carts of Darkness(en)

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In the picture-postcard community of North Vancouver, filmmaker Murray Siple follows men who have turned bottle-picking, their primary source of income, into the extreme sport of shopping cart racing. Enduring hardships from everyday life on the streets of Vancouver, this sub-culture depicts street life as much more than stereotypes portrayed in mainstream media. The films takes a deep look into the lives of the men who race carts, the adversity they face, and the appeal of cart racing despite the risk.

Streetwise
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Streetwise(en)

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This documentary about teenagers living on the streets in Seattle began as a magazine article. The film follows nine teenagers who discuss how they live by panhandling, prostitution, and petty theft.

Un jour ça ira
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Un jour ça ira(fr)

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Djibi and Ange, two teenagers living on the streets, arrive at the Archipel, an emergency shelter in the heart of Paris. This documentary is a look at the Archipel, a shelter offering an innovative way to welcome families living on the streets.

Travelers
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Travelers(tl)

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The diaspora of Filipinos around the globe is driven mostly by the economics of supply and demand. The yearning for something better, stability, and self-validation leads a handful of sojourners from the provinces of the Philippines into the arms of one of its former colonial masters — the USA. But what happens when they finally get what they want? And how? Filmmaker Dennis Empalmado explores the musings of Filipino expatriates and hopeful immigrants in "Naglalakbay" (Travelers).

Days on Designers
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Days on Designers(hu)

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Geri is a serious drug addict, using designer drugs intravenously. Between two flashes, he lives an active social life on the streets of Budapest, in a subculture that "normal" people cannot see.

Petit Rempart
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Petit Rempart(fr)

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Mariem, 53, a former estate agent, has been living at a shelter for several months. Surrounded by women in far more precarious circumstances than herself, she tries to regard her unprecedented social downfall as an immersion in real life. By the time she leaves, Mariem’s view of the world will have changed forever, enriched by all the women she has met along the way.

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