Six years after being bombed by NATO forces, Belgrade city still keeps some of the buildings as they were left by the bombs. Inside one of them, the same group of women that once use to clean and maintain it now gather together, acting and working again as if time had never moved.

Want to see the world from a different perspective? Want to trade a mind-numbing life for a fiery one? Want to plan your rebellious getaway now? Political travel is the address if you are looking for a revolutionary way to travel.

This critically acclaimed video exposes how the foreign policy interests of American political elites work in combination with Israeli public relations strategies to exercise a powerful influence over news reporting about the Middle East conflict. Combining American and British TV news clips with observations of analysts, journalists and political activists, Peace, Propaganda and the Promised Land provides an historical overview, a striking media comparison, and an examination of factors that have distorted U.S. media coverage and, in turn, American public opinion.

Paris Couleurs, a compilation of archival film material, deals with the image of the migrant in cinema and television throughout the century. From ”Zoos Humains” to the mythical ”Black-Blanc-Beur” of the year 1998, the film follows a history of representation, clichés and stereotypes. With this film Pascal Blanchard and Eric Deroo present a new audiovisual version of their research program “from the native to the immigrant” and their point of view of the relation between colonial history and the history of immigration.

The UN votes to partition Palestine. Riots in the face of the partition of Palestine. The Suez Canal is handed over to Egypt after 72 years of British control. Incidents on the Israel-Egypt border. The Egyptian Crisis. Israel withdraws from Sinai.

On Translation: Fear/Miedo is a televised intervention based on a video production that weaves together interviews with people who experience the tensions of the border zone on a daily basis, archival televised footage that makes reference to the idea of fear on the border between Mexico and the United States, and other documentary and journalistic material. The video aims to reveal how fear is a translated emotion, revealing itself in differing ways on both sides of the border as a cultural/sociological construction based on politics and economics. On Translation: Fear/Miedo was broadcast between August and November 2005 in four distinct locations that connect the centres of power/decision-making with the places where these policies are evident everyday: Tijuana, San Diego, Mexico City and Washington, DC.

Journeys and dreams in the mountains of Mexico's south east, the jungle and the city... Rituals, emotions and words for everyone!

The U.S.-Mexican Border is the site of a disturbing increase in violence and racial intolerance. Along the border there are now a number of autochthonous groups that have organized with the stated purpose of ending undocumented immigration. “Natives” follows the individuals involved in San Diego's anti-immigration movement. Relying principally on a direct cinema style and an eye for the absurd, the film critiques the autochthonous position by contrasting their professed love of country with their racist and anti-democratic attitudes. Though the US has long maintained a reputation as a haven for immigrants, there is nonetheless a strong tradition of xenophobia. In the decade of the 1990s, there was a new surge of anti-immigrant sentiment. This film examines the autochthonous discourse along the US-Mexico border, a place that brings issues of nationalism and intolerance into sharp focus.

Unfolding without narration, Mother Dao, the Turtlelike is a spare and elegant film constructed entirely from archival footage... Luminous nitrate images are set against a simple soundtrack of birdcalls, bells and murmuring voices, punctuated occasionally by native poems and songs. The film's careful construction reveals the face of systematic colonization and the effect of economic expansion on a culture. There are stunning moments: a child leaves off breast-feeding to drag on a cigarette; crocodiles are lassoed in a round-up; a strange white snow floats in the air as workers beat their way through enormous mountains of fluff. Much of the footage, shot by white Dutchmen and meant as propaganda for their colonial causes, now seems both comical and ominous - especially the recurring image of the white-clad colonialist intent on improving native culture and forcing industry forward. The natives' songs and poems, on the other hand, are full of regretful laments against hunger and the drive for profit. A quiet yet pointed journey through the past, Mother Dao is both an informative time capsule and a moving tribute to a lost world. (Rachel Rosen, San Francisco Film Festival)