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.

“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.

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.

Like many refugee children in the camps of Algeria, Zrug left home when he was only eight years old in search of education in Cuba. After 16 years, he returned home only to find that his mother died six years earlier, but he still decided to stay on and actively participate in the fight for the liberation of his people.

In 2005, due to historical debts that the Columbian government had failed to honor, the Cauca indigenous movement was forced to return to its strategy of occupying Haciendas. In the occupation of the Hacienda El Japio, an indigenous man was murdered and many others were tortured by the forces sent by the government of Alvaro Uribe Velez.

April 26th, 2007: sixteen researchers and activists give sixteen scathing views of the world that Nicolas Sarkozy is preparing for us. The reality of the right, full of self-confidence on the threshold of assuming power. An uncompromising deconstruction of Sarkozy-style rhetoric, which seems likely to remain relevant for some years.

Serpent Mother is about devotion to the Goddess of Snakes and the importance of divine female power in West Bengal Indian life. The film's focus is the Jhapan Festival, the great celebration of snakes. It shows the festival preparations, the role of traditional arts and crafts in the worship of the Goddess, devotional singing, and a demonstration of ritual action.

A thorough and sensitive portrait of the working connections and correlations of the actions of Bourdieu. The film shows Bourdieu at work, engaged in the kind of work that played a central role for him: on the interface with concrete action.