"This piece, with the generic title Film, is a series of short videos built around one protocol: a snippet of news from a newspaper of the day, is rolled up and then placed on a black-inked surface. On making contact with the liquid, the roll opens and of Its own accord frees itself of the gesture that fashioned it. As it comes alive in this way, the sliver of paper reveals Its hitherto unexposed content; this unpredictable kinematics is evidence of the constant impermanence of news. As well as exploring a certain archaeology of cinema, the mechanism references the passage of time: the ink, whether it is poured or printed, is the ink of ongoing human history." –Ismaïl Bahri

Delves deep into the anxiety, thrill and uncertainty of six aspiring animation artists as they are plunged into the twelve-week trial-by-fire that is the NFB's Hothouse for animation filmmakers.

It's bedtime at the Clubhouse and everyone's ready for their favorite bedtime stories! Unfortunately, Goofy's magic trick makes all the stories disappear from the Clubhouse books!

Directed by Keshavrao Dhaiber.

The seventh EBI submission, and grappling event shown on 16 July 2016 at The Orpheum Theatre, Los Angeles, the second Invitational event to be streamed live on UFC FIGHT PASS. This time around, it's the featherweights turn to take center stage. This seventh edition of the Eddie Bravo Invitational will be crowning the promotion’s featherweight (145lbs / 65kg) division champion, a title currently held by Eddie Cummings. Although the open weight tournament (EBI 6) included big names of jiu jitsu’s international circuit, this featherweight event will have the popular tournament return to its origins in a recipe that rose the attention of the sport’s fans in previous showings, a mix of veteran grapplers, fairly unknown talent and rising stars of the submission only movement.

For the last quarter century, Houston native Arden Eversmeyer journeyed across the country to record hundreds of oral "herstories" with a mostly invisible population that is rapidly disappearing. Old Lesbians honors Arden's legacy by animating the resilient, joyful voices she preserved in the Old Lesbian Oral Herstory Project, from first crush to first love, from the closet to coming out, and finally from loss to connection.

Komikerne Uffe Holm, Jonatan Spang og Rune Klan besøger Skanderborg Festival 2005. Uffe Holm tager også en snak med rock star Alice Cooper.

A road movie starring a Muslim family, a checkpoint and a flock of sheep.

A French soldier in the Napoleonic Wars plots his escape after he's captured and imprisoned in a castle fortress in Edinburgh, Scotland. Director Philip Rosen's 1949 film, adapted from a novel by Robert Louis Stevenson, stars Richard Ney, Vanessa Brown, Henry Daniell, John Dehner, Douglas Walton, Aubrey Mather, Jean Del Val, Luis Van Rooten, Maurice Marsac and Billy Bevan.

Grigory Bozovkin, in his youth, beat up a man out of jealousy and was put under investigation. By escaping from the prison cell with the passport of the deceased, Grigory thereby severed all ties with the past. But one day he met Natalya and fell in love with her. And now, awaiting the expiration of the statute of limitations for what he committed.

After the failed marriage of her parents and the discovery of her mother's sexual orientation; Emi arrives in complete solitude to an adolescence flooded with doubts about her own sexual preferences and her family nucleus.

At the most difficult low point in Jue Xiao's life, Dai Chun's appearance broke through the darkness like a ray of sunshine. In the closed environment, from acquaintance to love, the two use love to weave the possibility of happiness, and save each other from the heavy fog. As the good life continues, the test of reality also sneaks up on their love. Can they still become the best person in each other's eyes?

"WE ALL PLAY" addresses the reality of the LGBTQIA+ community in sport. In a trip around the world, we will meet outstanding world elite athletes, who will talk, many of them for the first time, about their personal and professional experiences in first person.

School is over for the day. A stationary camera is trained on the door of the high school at the top of a few stairs. A man and small boy emerge, followed by wave after wave of boys, each in jacket and tie, most wearing caps. A few are arm in arm. At least 150 boys and young men appear. Then about 120 women and girls appear, parting to go in either direction down the sidewalk in front of the school. All are in long skirts and wear big hats; most wear blouses and jackets or coats. Some are adults; most seem older than the boys who've left just ahead of them. The last person to leave is a gentleman.

This dialog-free film, originally presented as 33 short films, is an experimental, bizarre set of meditations and flashbacks of the grotesque.

Part-improvised and starring a cast of nonactors led by real-life punk Ana Hernandez (as Alma, which also means “soul”), ALMA PUNK traces the tortuous path of a young riot grrl from the Mexico City punk scene as she moves north to Tijuana and, eventually, towards the United States. It confidently breaks with the rules of staging docudrama with an unsparing look at Alma’s love life, unfakeable scene bohemianism and extensive location footage of Mexico before NAFTA and after the 1985 earthquake. “I feel like no one is supporting me,” Alma says. “Guys want everything and give nothing in return. Isn’t that so?” Like NADIE ES INOCENTE, this film uses the intimacy and flexibility of video (this time, 3/4″) to wring innovation in the editing room, this time to give Alma a similarly alienated and jittery headspace.