Jake Kimble, the sole survivor of the Chicago massacre, is killed while in solitary confinement. His doctor begins investigating the claims he made about a long-haired woman in white, as a mysterious Japanese woman arrives at his old apartment building to help them get rid of the curse.
A New Yorker journeys to the jungle in the Darien Gap of Panama to reconnect with an indigenous tribe he met and photographed 20 years ago. Their reunion highlights the profound power of photos and the human connection that transcends cultural barriers.
The Sanyals are a large extended family composed of the nonagenarian grandfather (Haradhan Banerjee), his son (Ranjit Mallick), daughter-in-law (Laboni Sarkar) and their children of whom two, a daughter (Koel Mallick) and a son (Rishi Kaushik), live together in a mansion in Bhawanipur. There seems to be more servants in their house than family members, extending the virtues and parameters of the ideal ‘joint’ family. The film starts with everyone being excited about the return of the elder son (Babul Supriyo) from the U.S., where he had gone for work. However, all hell breaks loose when he returns with a wife (Rituparna Sengupta) and her child from a former marriage in tow.
A Danish writer travels to Mexico with the purpose of locating a mysterious Apache tribe that fervently seeks to remain in obscurity.
The personal stories lived by the Uncle, the Father and the Son, respectively, form a tragic experience that is drawn along a line in time. This line is comparable to a crease in the pages of the family album, but also to a crack in the walls of the paternal house. It resembles the open wound created when drilling into a mountain, but also a scar in the collective imaginary of a society, where the idea of salvation finds its tragic destiny in the political struggle. What is at the end of that line? Will old war songs be enough to circumvent that destiny?
This documentary is a moving look at 150 years of Canadian history through the iconic family photograph
Sirkka-Liisa died alone with no one left to miss her. Elina happened to buy her home after her death and ended up with all Sirkka-Liisa's possessions from books to photos. What would happen If Elina threw all her things away?
Revisit photographs created by Kentucky school children in the 1970s and the place where their photos were made. Photographer and artist Wendy Ewald, who guided the students in making their visionary photographs, returns to Kentucky and learns how the lives and visions of her former students have changed.
Pegah talks about Gholam, a man who’s not like her father, mother, uncles, or aunts, even though he’s always present at family gatherings. Gholam films these everyday scenes with his own camera. At the time, Pegah can’t imagine what the purpose of these films might be, but she’s happy to pose before the lens of this family friend, who she’s certainly very fond of.
In the mockumentary, the main characters Artem and Lisa are preparing for their wedding. Their friend is filming everything that is happening on camera. At the celebration, during the exchange of rings, the newlyweds sincerely rejoice, but then a relaxed walk in the rain begins, which brings unexpected comic moments. Later, the guests gather for a feast, where there is an atmosphere of laughter, jokes and general fun, emphasizing the joy of this important day for all participants.
Photos, home videos and especially a series of audios recorded without Julia's consent are the essence of this film that tells the story of a woman who got married despite having many doubts and who never tired of seeking her own happiness.
This short documentary sifts through the pages of a woman's diary who has recently begun to write her memoir. As she looks back at her life and some of her memories, the film explores the ordinary act of writing and the value and meaning it may hold in mundane everyday life.
A grandmother takes her granddaughter to visit her past memories through old photographs.
