Boys Will Be Boys

A crime movie directed by Rudolf Jugert.

Laying the Foundation Stone of Gustav Adolf's Church.

An archival investigation into the imperial image-making of the RAF ‘Z Unit’, which determined the destruction of human, animal and cultural life across Somaliland, as well as Africa and Asia.

In this documentary by Coline Serreau, known for her feature film Why Not?, a selection of Frenchwomen in characteristically no-win situations discuss what they are experiencing and answer, if only by implication, the question: "What do women want?"

This film is an adaptation of Jean Amila's novel Le Boucher des Hurlus. The story, set in the aftermath of the war, is about Michel, a young man orphaned in this manner. He lives with his mother until she collapses under the wave of vituperation from the women in her community, who consider her murdered husband to have been a traitor. When he is sent to an orphanage, he discovers that many of the children in it are there for the same reason he is. Michel decides to escape his captivity and kill the general who ordered his father's death. He and the other children like him are able to get away from the orphanage, in the course of their journeys, they tour the grim battlefields of the recent war. Together, they return to Paris, determined to exact their revenge.

Animated adaptation of Kir Bulychyov's sci-fi short fiction.

Recorded at the Credicard Hall in São Paulo, on 2 and 3 July 2010, the album celebrates the 30th anniversary of the group's career and is part of the 30 Years Tour. Participate as special guests Symphony Orchestra Villa-Lobos, singer Milton Nascimento in the song "In Bailes da Vida", the singer Sandy Leah in the song "Silver Rain", Father Fabio de Melo in the song "Peace" (version "Heal The World" by Michael Jackson) and the band in Fresno song "Rock'n Roll Show"

A woman sits alone in a bare white tiled bath, reading Georges Bataille’s ‘Story of the Eye.’ The bizarre events described in the text provoke a series of fantasies in which the room and its accoutrements become the stage and the woman the main player. As her dreams unfold in the liquid medium of the bath, she becomes the ‘eye’ of the story and her own body the object of its gaze. With a feminine hand, THE STORY OF I plucks Bataille’s central metaphor from its original context and re-invents its erotic vision from the inside out. The eye is the vagina, seen throught he blood, urine and tears, it looks at itself in a mirror.

Anna Dziapshipa was born of the union between an Abkhazian man and a Georgian woman. In Self-Portrait Along the Borderline, she skilfully weaves together unique archives and fragments to offer a personal and political biography of Georgia-Abkhazia relations. This vibrant exploration foregrounds a divided identity caught between the margins.

A hapless stage musician struggles to keep the attention of her meagre audience. When her tricks start to backfire with increasingly dire results, she turns to ever more spectacular methods.