Sophia & Han - Robots

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With the most tech startups and venture capital per capita in the world, Israel has long been hailed as The Startup Nation. WIRED’s feature-length documentary looks beyond Tel Aviv’s vibrant, liberal tech epicenter to the wider Holy Land region – the Palestinian territories, where a parallel Startup Nation story is emerging in East Jerusalem, Nazareth, Ramallah and other parts of the West Bank, as well as in the Israeli cybersecurity hub of Be’er Sheva. And we will learn how the fertile innovation ecosystem of Silicon Wadi has evolved as a result of its unique political, geographical and cultural situation and explore the future challenges – and solutions – these nations are facing.

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Errol Morris interweaves the stories of four men, each driven to create eccentric worlds from their unique obsessions, all of which involve animals: a lion tamer shares his theories on the mental processes of wild animals; a topiary gardener devotes a lifetime to shaping bears and giraffes out of hedges and trees; a man fascinated with hairless mole rats; and an MIT scientist who has designed complex, autonomous robots that can crawl like bugs.

Travel films have an established format with their own conventions, history and baggage. It is a medium that has all too often sought to control, define and dictate perceptions of ”other” places. Comprised of footage shot while travelling on group excursions across Russia in 2019, An Uncountable Number of Threads is an attempt to draw out the ethical restrictions of a travelogue, while questioning how (and why) to make one. At times there is an awkward tourist-gaze, aware of its outsider position. But as a self-reflexive work that considers its own creation, it ultimately unravels, as the artist rationalises themselves out of a particular way of working, inviting the viewer into their uncertainty.

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As France's first ZAC (Zone d'Aménagement Concerté, or concerted development zone), Grigny is the ideal place to describe how France transformed its dream of a happy suburb into an impoverished urban nightmare. The film aims to leave the camera rolling throughout the story, to discover the inhabitants and the labyrinths of yesterday and today, and to answer the essential questions. From the residents to the architects, including the city of Grigny, the mayor, the prefect, the landlords, and the ANRU (National Agency for Urban Renewal), the film examines and deciphers the consequences of what happened in Grigny and the state's housing policy. Through the analysis of Grigny's history, we see how the state has participated and continues to participate in the creation of social exclusion.

This is not just a “folkumentary”, but an invitation to reflect on the future of humanity on a planet where tradition and technology coexist, and where the unknown reminds us that there are still unanswered questions.

For a book project, photographer Timothy Greenfield-Sanders took photographs of 30 stars of adult movies, each pair of photographs in the same pose, clothed and nude. This film records the photo shoots and includes interviews with the performers and commentary from eight writers (and John Waters). The actors and writers discuss economics, nudity and exhibitionism, careers, and private lives.

With over 500 publications to his name, from the 50’s to the 80’s, he had anticipated computers and electronic gadgets invading the household, autonomous vehicles and man’s withdrawal from nature. Science fiction and anticipation stories have never been as popular as today. It inspires literature, drama series, films, even politics and the military. As the world we live in faces an unprecedented technological acceleration, we are more concerned than ever by the issue of our future.

In THE COLOR OF FEAR, eight American men participated in emotionally charged discussions of racism. In this sequel, we hear and see more from those discussions, in which the men talk about about how racism has affected their lives in the United States. We also learn more about the relationships between them, and about their reactions during some of the most intense moments of that discussion.

Klaus Kinski has perhaps the most ferocious reputation of all screen actors: his volatility was documented to electrifying effect in Werner Herzog’s 1999 portrait My Best Fiend. This documentary provides further fascinating insight into the talent and the tantrums of the great man. Beset by hecklers, Kinski tries to deliver an epic monologue about the life of Christ (with whom he perhaps identifies a little too closely). The performance becomes a stand-off, as Kinski fights for control of the crowd and alters the words to bait his tormentors. Indispensable for Kinski fans, and a riveting introduction for newcomers, this is a unique document, which Variety called ‘a time capsule of societal ideals and personal demons.’

Eight American men of different ethnic backgrounds discuss homophobic prejudice against gay men in the United States, sharing their fears and personal experiences of bigotry, demonization, and ridicule.

A documentary following the adventures of three high school robotics teams battling for first place at a national robotics competition in Miami, Florida. Lone wolf Will builds robots so powerful they're unstoppable...if only they don't destroy themselves first. The Mechanical Misfits are an all-girls team stumbling through their first foray into combat robotics, and Elizabeth and Danielle are a formidable pair looking to reign supreme during their senior year.

A comic, biting and revelatory documentary following a small group of prankster activists as they gain worldwide notoriety for impersonating the World Trade Organization (WTO) on television and at business conferences around the world.

Documentary approach follows six people (and a robot) who transform their lives using stillness and mindfulness.

From altar boy to Britain's most famous liar, Harry Clark explores what it means to be a 'good catholic' as he embarks on a pilgrimage to Rome and attempts to meet the new pope.

In the 1960s, the suburbs were meant to be modern havens for newcomers from rural France, Portugal, Spain, North Africa, and Africa, helping rebuild post-war France. Large housing complexes symbolized this ideal, offering comfort, heating, and electricity. But by the 1980s, disillusionment set in as economic crisis, unemployment, poverty, crime, racism, and police violence took hold. Mohamed Bouhafsi tells the story of a dream that didn’t last.

Creating a Monster is about reality television and sub-textually confronts a bigger ethical question about the psychological impact on the contestants; is the fault placed on reality television producers or the audience who consume it?

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