The Communists are Coming - A Visual Manifesto

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A more experimental aproach to labor protection films. In the line of Săucan's style, the soundtrack is as important as the image, the threatening music, full of shrillness, composed by Ion Dumitrescu potentiating the visual construction that mixes - in a montage reminiscent of the Soviet avant-garde school of the 1920s - all kinds of shooting techniques and frame combinations.

When the revolution in Nicaragua won its victory nearly 40 years ago, the world began to dream. A young generation was taking the reins in a country of grand utopias. From West Germany alone, 15,000 “brigadists” travelled to help rebuild the war-torn country: liberals, greens, unionists, social democrats, leftists and church representatives harvested coffee and cotton, built schools, kindergartens and hospital wards. No movement has mobilised so many people. What became of the hopes and dreams of the revolutionaries and their supporters?

Jesus Was a Commie presents modern society with questions and leads the audience on a dialectical journey. The film challenges the viewer to seek their own answers and personal truths.

A chronicle of the civil uprising against the regime of Ukrainian president Viktor Yanukovych that took place in Kyiv in the winter of 2013/14. The film follows the progress of the revolution: from peaceful rallies, half a million strong in the Maidan square, to the bloody street battles between protesters and riot police.

Napalm is the story of the breathtaking and brief encounter, in 1958, between a French member of the first Western European delegation officially invited to North Korea after the devastating Korean war and a nurse working for the Korean Red Cross hospital, in Pyongyang, capital of the Democratic People’s Republic of Korea.

At the beginning of the 70s, Sahia Studio produced a number of social investigations commissioned by the Central Committee of the Romanian Communist Party, intended to expose the so-called "social parasitism". The decision was taken after the theses of July 1971, which provide that "one of the main objectives of political work, especially among the youth, is the firm fight against the tendencies of parasitism, of an easy life, without work, the cultivation of responsibility and the duty to work , in the service of the country, the people, the socialist society". The most famous films, made with the competition of the Ministry of the Interior and the Ministry of Justice, are Să treacă vara and Iarna unor pierde vară

The film's protagonists are the orphaned children taken into custody by the state and institutionalized at Children's House no. 6 from Bucharest. For Mészáros, the concern for the situation of children left orphaned during the Second World War is autobiographical: the director directly experienced the absence of parents in her own childhood.

A research-based essay film, but also a very personal perspective on the history of socialist Yugoslavia, its dramatic end, and its recent transformation into a few democratic nation states.

A documentary that traces the life and times of Bhagat Singh, a committed Marxist who most ably exemplified the spirit of revolutionary resistance against British imperialism in undivided India.

Street art, creativity and revolution collide in this beautifully shot film about art’s ability to create change. The story opens on the politically charged Thailand/Burma border at the first school teaching street art as a form of non-violent struggle. The film follows two young girls (Romi & Yi-Yi) who have escaped 50 years of civil war in Burma to pursue an arts education in Thailand. Under the threat of imprisonment and torture, the girls use spray paint and stencils to create images in public spaces to let people know the truth behind Burma's transition toward "artificial democracy." Eighty-two hundred miles away, artist Shepard Fairey is painting a 30’ mural of a Burmese monk for the same reasons and in support of the students' struggle in Burma. As these stories are inter-cut, the film connects these seemingly unrelated characters around the concept of using art as a weapon for change.

These are strange times indeed. While they continue to command so much attention in the mainstream media, the 'battles' between old and new modes of distribution, between the pirate and the institution of copyright, seem to many of us already lost and won. We know who the victors are. Why then say any more?

On January 15, 1972, Leonid Pliouchtch, a Ukrainian mathematician who was unknown at the time, was locked up in a Soviet psychiatric institution and accused of dissidence. His wife, Tatiana, fought for his defense and contacted a committee of French mathematicians to help him. Led by Laurent Schwartz, they launched a three-year campaign to secure his release and succeeded in getting the USSR to back down on the issue.

A film about the dramatic and extraordinary fate of the lonely man who confronted the meat grinder of the communist regime. Georgy Konstantinov, 19 years old, blew up Stalin's monument in Sofia and death passed him by only because the dictator died two days later. He miraculously survived 10 years in prison and psychiatric wards and managed to escape to France. His State Security file numbers more than 40,000 pages. Even today, he does not cease to expose the crimes of the regime with the strength of truth and of his character.

This is a reflection of & on class consciousness

In its "velvet revolution" of 1989, the people of Czechoslovakia toppled its communist dictatorship and embraced democracy and capitalism. By January 1993, the country had peacefully split in two. In the early 1990s, thousands of American college graduates began flocking to Prague, where they could postpone entering the "real world," and live cheaply in a beautiful undiscovered European city. Throughout that decade more and more tourists crossed the statue-lined Charles Bridge in search of old world beauty previously hidden by communist isolation. But what of the people who cross the Charles Bridge on their way to work every morning? Who are the Czechs? What is their history? What is their future? My Prague Spring is an award-winning film that vividly humanizes a resilient people who have survived a tumultuous history. In the spring of 1990, a Czech-American filmmaker spent four months living with his Czech relatives, and opened an intimate window into an uncertain world.

Puerto Rico, the last relic of colonization in the western hemisphere, has been a dependent territory of the USA since 1917. Los Macheteros and one of its leaders Juan Segarra have been fighting for its full independence for many decades.

1968, The Socialist Republic of Romania. Women catch up on the latest tendencies in beachwear, the young hippies of Hamburg are harshly criticized by Romanian students, while Nicolae Ceaușescu reads the famous defiance speech against the intervention of the Warsaw Pact troops in Czechoslovakia. Floating solemnly over all this is The Internationale, sung on a stadium by a crowd of pioneers dressed in white shirts and red ties. A certainty for each probability: the documentary is at the same time a history lesson and an ideological warning sign, the director’s endeavour permanently draws our attention to the functions of the propaganda film, yet without tarnishing the fascination that dwells in the core of the images, that of the figures that wave at us from a past buried in commonplaces and political parti pris.

Bosnian Croat writer Miljenko Jergović and Serbian writer Marko Vidojković replace one another by the steering wheel of Yugo, a symbol of their common past while driving on the Brotherhood and Unity Highway that stretched across five of six republics of Yugoslavia.

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