Everywhere in the parks and on the river bank of the Osaka river one sees blue tents or barracks covered with blue plastic tarps - at times scattered throughout the park area, sometimes lined up in rows, or united to form small communities. The term homelessness only insufficiently describes the situation of these No-jukusha - the campers in the rough. Without any budget and only the simple camera at the place the reason to start the documentary was the threat of evictions of homeless tents from parks. Now the film is used in Osaka as a tool against new evictions by No-juku-sha, andbecame a vehicle of articulation for those who live outside of the Japanese society.

“You thought they came home safely from the war. They didn't”. Poison Dust tells the story of three young men from New York who could not get answers for their mysterious ailments after their National Guard unit's 2003 tour of duty in Iraq. Filmmaker Sue Harris skillfully weaves, through interviews, their journey from personal trauma, to ‘positive' test results for uranium poisoning, to learning the truth about radioactive Depleted Uranium weapons. Their frustrations in dealing with the Veterans Administration's silence becomes outrage as they realize that thousands of other GI's have the same symptoms.

Pier Paolo Pasolini is one of cinema's greatest figures. The influence he continues to exert to this day, one of the of the many contradictions surrounding his life, has not yet been fully recognised. Responsible for a challenging, hard-to-classify body of film and literary work, and an equally explosive personality, Pasolini talks calmly, splendid as ever in front of the camera (despite all the uproar and expectations around the shooting of “Salo, or the 120 Days of Sodom” at the time), as he concisely explains his views on cinema and life. Bertolucci thus achieves a true portrait, allowing Pasolini has to talk about his own work and ideas with the filming of Salo as a starting point, and weaving in an interview by journalist and documentary maker Gideon Bachmann with photos by Deborah Imogen Beer also taken at the set of what would be, due to his early, violent death in 1975, his last film.

New and established Palestinian filmmakers came together in a project that reflects the “mood” of the summer of 2006, when Israel carried out military assaults in Gaza and Lebanon. In three minutes or less, filmmakers were asked to tell their stories in a single shot. Despite the fact that Palestinians have been dispersed across the globe, with the majority of them unable to return to their homeland, this project, initiated by the Palestinian Film Collective, was limited to filmmakers who live in Palestine. The result is a mosaic of 13 short films, each less than 3 minutes in length, produced across Palestine that convey the personal, political and poetic spirit of a people struggling for freedom.

Today's aggressive management techniques and the cult of outsourcing and speed have spawned new monster-companies, proud of those very values they had been criticized for. One of them is Office Tiger, a transnational hybrid specializing in document-processing for big enterprises. As with the bubble of start-up dotcoms, there comes a time when work itself takes second place and what matters is the staff's attitude – in part ambition, in part a heroic, self-punishing sense of dedication.

Four families who live in Bon Pastor, a Barcelona neighbourhood, refuse to leave their single-storey houses. Some refuse because they've lived there for their whole lives, others because they feel they've been duped by the Board of Housing. This video shows the action carried out by the support group “Asemblea de Apoyo a Bon Pastor” in solidarity with the four families who resisted, at a time when it is seen as “politically incorrect” to ask for what you believe is right.

A prison on the island of Nisida, in Naples, is home to 40 adolescents aged between 14 and 21. The kids design masks to hide their identities during the shooting of the film. It is this very facet which contributes to establishing an increasingly intimate rapport with three of the inmates – Enzo, Rosario and Samir, confronted by prison life, invite us to share their daily routine of school and work, boredom and captivity. They also recount their stories and share their moments of hope and disappointment. If the objective of their punishment is, as stated in the Constitution, re-education, the film questions the compatibility between learning and imprisonment.

The slow life of a little village near the city, and the city's fast pace. How can these two competing world views be reconciled' Is there a third way, a truly sustainable form of development? With the help of Luca Mercally, the filmmakers try to map out several possible pathways and a “solution” that could point us in the right direction.

After many years of living overseas, the director meets his father in Shenzhen. The setting of the film is a Russian- made aircraft carrier named Minsk, which seems to have the same life experience as the director. With its past glory and memories, this huge carrier is now a major commercial opportunity. Chinese and foreign tourist swap their roles here. The way the director sees it, Minsk has been transformed from an enormous war machine into a money making machine.

This public talk by S.N Goenka was given at the Harvard Business School Club in New York City in August, 2000. Since Goenkaji was himself a businessman for many years, he addresses many points of interest to the audience. The presentation is a suitable introduction to Vipassana for the general public and is followed by a lively question and answer session.