The film unearths declassified documents and highlights forgotten passages in prominent presidential doctrines to show how concerns about oil have been at the core of American foreign policy for more than 60 years - rendering our contemporary energy and military policies virtually indistinguishable.

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.

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.

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”.

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.

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.

“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.

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.

Following Nigeria's independence in 1960, the British left the country but multinationals began to proliferate thought the land, specially after the discovery of the region's largest oil well. Agriculture, which had previously given the country a degree of economic equilibrium, was hurt by the agreement between Nigeria's new leaders and foreign investors, which resulted in the expansion of the oil fiends and the destruction of agricultural land. The documentary reflects this situation through the musician and political activist Fela Kuti and his son Fema Kuti. Music is depicted as the awakening of a conscience, as a celebration of life and African roots, and as an indictment of a government that acts as a franchise of western multinationals.