Single mother Nadia is surviving on welfare while transport strikes are paralyzing France in December 1995. While watching the news, she recognizes the father of her child among the strikers and decides to go and search for him. But she has nowhere to go. The film, shot almost entirely at night, carries documentary qualities, part of which is due to the appearances of actual railroad workers in several group scenes.
By the start of World War II, Paul Robeson had given up his lucrative mainstream work to participate in more socially progressive film and stage productions. Robeson committed his support to Paul Strand and Leo Hurwitz’s political semidocumentary Native Land. With Robeson’s narration and songs, this beautifully shot and edited film exposes violations of Americans’ civil liberties and is a call to action for exploited workers around the country. Scarcely shown since its debut, Native Land represents Robeson’s shift from narrative cinema to the leftist documentaries that would define the final chapter of his controversial film career.
In the midst of economic hardship, a lower-middle-class family in Iowa faces the threat of farm foreclosure and government interference. They navigate complex family relationships and social commentary while fighting for justice and fairness against the oppressive forces of the federal government.
Despite the soccer World Cup fever during the summer of 1998, a group of young people insist on rehearsing for a theatrical performance. The process they are getting into will form the identity of the play itself, but will also force the actors to face their own personal problems and anxieties.
A thought-provoking and genre-bending look behind the scenes of what might be the world's only underground DIY anarcho-feminist porn collective.
No More results found.