In 1925 William Faulkner lived in New Orleans for a few months writing short sketches in which he called the city to life. Inspired by Faulkner's impressions, Dutch Filmmaker Marjoleine Boonstra drifts through the devastated streets of New Orleans, at any hour of the day, looking for the fears and dreams of people whose lives have gone adrift as a result of hurricane Katrina.

An investigation into how Hugo Chavez's Venezuela is using its oil wealth to build political power at home and challenge US hegemony across the Americas. Its massive deposits of super-heavy crude add up to more oil than the Kingdom of Saudi Arabia and make Hugo Chavez the America's new energy superpower.

Due to her Mongolian birthmark, the filmmaker Theresia Grösslinger embarks on a cinematic journey through Mongolia. However, the illusion of being closer to the country and its people because of her birthmark is destroyed right from the beginning. While taking part in a family's everyday life in the southern veldt, she soon has to admit to herself her disappointment at feeling completely lost in this vastness and that the family only regards her as a tourist.

Debord's first film, “Hurlements en faveur de Sade” (Howls in favour of Sade), testifies in its own way on the passion for idleness that moves its author. Howls in favour of disappearance and perdition, howls against all images, against the spectacle and its hypnotizing effects, against false communication...

Thought through movement. Human Caracol sees the journey as an itinerary that is open to experience, a story made up of the unexpected, of mobile and fixed intensities. A nomadic portrait of choreographer and dancer Steve Paxton. Steve Paxton was one of the founders of the Judson Dance Theatre and Grand Union, and a pioneer of Contact Improvisation, and part of the Merce Cunningham dance company in the early sixties. In this documentary based on the tactile gaze, Steve Paxton talks to choreographers María Muñoz and Pep Ramis as they prepare organic compost.

Straight from 1957 a very rare film on the Monsanto House of the Future. This rare film contains a full walk through, full descriptions and the life of a typical “future family”.

1994 is the year the director of this film turned 20. It's the year of the genocide in Rwanda and the year she lost her father. 1962 is the year the director's mother turned 20. It's the year the country officially got independence and the year the director lost her grandfather. “Homeland” is a journey around Rwanda, with characters from two different generations. A trip back in time to reconcile intimate stories with Rwanda's History, personal view points and unpublished archives. An immersion into the origins of violence and fate.

A compilation of three feature-length anarchist documentaries: Pickaxe (an eclectic mix of activists take a stand to protect an old growth forest from logging at the Willamette National Forest of Oregon), Breaking the Spell (an hour-long look at the 1999 Seattle WTO protests and the anarchists who traveled there to set a new precedent for militant confrontation), and The Miami Model (Indymedia activists shot hundreds of hours documenting the 2003 FTAA protests in Miami and shaped it into a documentary that cuts through the mass media blackout to reveal the brutal repression and assault on civil liberties that took place), and five short films: Safetybike, How to turn a bicycle into a record player, Auto re-vision, Join the resistance: fall in love and Why I love shoplifting from big corporations.

In Grass, Mann chronicles America's rocky relationship with marijuana and the perilous road this little weed has travelled in the land of “stars and stripes”. Grass is narrated by pro-hemp campaigner, the actor Woody Harrelson (The People Vs Larry Flynt, Natural Born Killers), who himself went to jail when protesting his right to plant industrial hemp on his farming property in Texas. Thrown into its mix is a pure blend of hilarious archival footage, disturbing information and a healthy pinch of government double standard. But as always Mann's skill with alternative arguments, facts and figures, allow it to transcend the fate of mere “agit-prop”. Just say yes to Grass.