Evangelical spot of New Tribe Mission (ntm.org): “Millions of men, women and children, tribal people all across the world, in remote, never-before reached places of the Earth, ISOLATED, with NO ACCESS of Salvation in Jesus. Living in Darkness...”

This video brings us the voices and minds of Farmers from Cuzco, Peru. They explain what school they want for their children, what education is needed for life to flourish and for the strength of ancestral times to be carried over to new generations. Over the past decade the Nucleus for Andean Cultural Affirmation CEPROSI has been working in Cusco with groups of rural teachers and parents in order to attain an understanding of education and cultural diversity. The reflections they make on the way in which Andean children learn of both worlds, western and Andean, lead them to unexpected conclusions that deserve to be listened to and taken into account.

Shot in Cameroon and Brussels, Je ne suis pas moi-même explores the world of African antiquities and the contradictions in a European art market hungry for new tribal objects. Where do the African masks come from? What journey do these masks make before their unveiling in the windows of the biggest galleries or art collections in Europe? Who determines the economic and aesthetic value of these objects now that colonialism is supposedly dead' And then there's a continent called Africa, in need of economic resources and therefore willing to sell its cultural heritage or, if need be, to fake it. The authenticity of the objects becomes blurred when the people that once adored them start to sell them.

This is the first compilation of films by Jean Painlevé, spanning his career from his beginnings as an actor to his work as a filmmaker in the leadup to WW1. In Methuselah, an avant-garde play by Ivan Goll, Painlevé is both actor and producer. This version includes a soundtrack added to the “film” – five sequences that were intended for projection during the play – in the eighties, when Painlevé discovered Maxime Jacob's original score for the play. The music was originally performed by The Republican Guard Band. Lacking the funds needed to engage this famous band, Painlevé chose to have a piano version recorded.

Young women in St. Petersburg are going back to school. They want to learn how to seduce, marry and control men. They try to find a path to stability, happiness and prosperity. They want to learn how to be a successful bitch. Bitch Academy is a tragicomic documentary of early Russian capitalism, which determines the dreams and intimacies of its young generations, in at atmosphere of fear and hope.

The social treatment of poverty is progressively replaced by repression. The poor, sometimes immigrant, being a victim to start with, becomes a potential criminal. The director observes the social violence and the stigmatisation which keep a whole social class in oblivion. He discovers, far remote from EU's democracy, the reality and the functioning of a social apartheid.

Léxico Familiar transforms the all-encompassing intent behind the idea of a “dictionary” into a more modest attempt to compile a few elements of the “family lexicon” that constitutes the language of the new movements. As per Heinrich von Kleist's idea of gradual production of thoughts whilst speaking, this vocabulary is revealed through the course of the conversation, framing and editing, which literally seek to show how thought is embodied. Just as political concepts that lead to dynamics of change (which can be appropriated by other subjects, and which circulate so as to be verified through different practices) don't arise through isolated gestures or thought ex nihilo, but from actual experiences and specific bodies and struggles.

Maa Tere Manalen is the result of Tere Recaren's two trips to Mali. It all began the day the artist discovers that in Mali, her name means something like “destiny.” So Recarens sets off to Africa to explore all the possible meanings of her name for the Bamanan, the country's most numerous ethnic group. Maa Tere Manalen (someone with a lighted Tere) took shape during her second visit. After her trip to Estonia, where she had discovered that “Tere” meant “good day,” she embarks on a similar exploration avoiding the classic tourist trip. Faithful to her habits, she promotes other kinds of exchanges and experiences; so in Mali she works in a textile factory where she designs and produces her own fabric with prints of drawings and phrases related to her name. Once this was done, she cuts it up and swaps it for photos of everybody who has helped her in some way, filming the whole process. The work draws attention to the gift itself, and the artist's constant availability. Recarens “builds” a room, which functions as a space in which to exhibit her work: she fills it with fabric that she finds or swaps things for, with motifs that refer to public or private moments, ideal for talking about different kinds of families. A space that is halfway between aesthetic and functional, where Recarens displays her own images.