China Is Still Far

Alexander McQueen's rags-to-riches story is a modern-day fairy tale, laced with the gothic. Mirroring the savage beauty, boldness and vivacity of his design, this documentary is an intimate revelation of McQueen's own world, both tortured and inspired, which celebrates a radical and mesmerizing genius of profound influence.

A documentary on the expletive's origin, why it offends some people so deeply, and what can be gained from its use.

In the Realms of the Unreal is a documentary about the reclusive Chicago-based artist Henry Darger. Henry Darger was so reclusive that when he died his neighbors were surprised to find a 15,145-page manuscript along with hundreds of paintings depicting The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glodeco-Angelinnian War Storm, Cased by the Child Slave Rebellion.

Captured during Billie Eilish's sold-out world tour, a concert experience from one of the most celebrated and successful artists of her generation, presented in immersive 3D.

This revealing documentary honors the legendary Sidney Poitier—iconic actor, filmmaker, and civil rights activist. Featuring interviews with Denzel Washington, Spike Lee, Halle Berry, and more.

A documentary shot by filmmakers all over the world that serves as a time capsule to show future generations what it was like to be alive on the 24th of July, 2010.

A documentary about the life and films of director John Ford.

Louis Theroux travels to California to meet the man dubbed "the most dangerous racist in America"; Tom Metzger. Louis meets him, his family and his publicity manager as well as following him to skinhead rallies and on a visit to Mexico.

Director Michael Apted revisits the same group of British-born adults after a 7 year wait. The subjects are interviewed as to the changes that have occurred in their lives during the last seven years.

After another 7 year wait, director Michael Apted revisits the same group of British-born children from Seven Up! and 7 Plus Seven. The subjects are interviewed as to the changes that have occurred in their lives during the last seven years.

Director Michael Apted revisits the same group of British-born adults after a 7 year wait. The subjects are interviewed as to the changes that have occurred in their lives during the last seven years.

An unprecedented and intimate look at the life, work and enduring legacy of British actress Audrey Hepburn (1929-1993).

Over 35 years after Bob Lazar's revelations, this documentary exposes secrets of a facility the government still denies. Featuring Lazar's testimony, recreations, and new evidence, it reopens a case that continues to spark global curiosity

In an intimate and joyful story of love in the face of loss, celebrated poets Andrea Gibson and Megan Falley find strength—and unexpected hilarity—in what might be their final year together.

Stars of "The Walking Dead," Andrew Lincoln and Danai Gurira, walk down memory lane and visit iconic locations where pivotal moments between their characters, Rick and Michonne, were filmed.

Just two years away from turning 30, participants in Michael Apted's documentary series are facing serious questions of identity and purpose, wondering whether they've found their place in the world.

Experience the meteoric rise of Oasis through rare footage and untold stories as the band reunites for Oasis Live '25, chronicling their journey from Manchester streets to global rock stardom.

Ten Minutes Older is a 2002 film project consisting of two compilation feature films entitled The Trumpet and The Cello. The project was conceived by the producer Nicolas McClintock as a reflection on the theme of time at the turn of the Millennium. Fifteen celebrated film-makers were invited to create their own vision of what time means in ten minutes of film.

A backstage and on-stage look at Justin Bieber during his rise to super stardom.

Ranjit, a farmer in India, takes on the fight of his life when he demands justice for his 13-year-old daughter, the victim of a brutal gang rape. His decision to support his daughter is virtually unheard of, and his journey unprecedented.

“La Zerda and the songs of oblivion” (1982) is one of only two films made by the Algerian novelist Assia Djebar, with “La Nouba des femmes du mont Chenoua” (1977). Powerful poetic essay based on archives, in which Assia Djebar – in collaboration with the poet Malek Alloula and the composer Ahmed Essyad – deconstructs the French colonial propaganda of the Pathé-Gaumont newsreels from 1912 to 1942, to reveal the signs of revolt among the subjugated North African population. Through the reassembly of these propaganda images, Djebar recovers the history of the Zerda ceremonies, suggesting that the power and mysticism of this tradition were obliterated and erased by the predatory voyeurism of the colonial gaze. This very gaze is thus subverted and a hidden tradition of resistance and struggle is revealed, against any exoticizing and orientalist temptation.

An investigative documentary tracing the life of Dr. Benaouda Benzerdjeb from his studies in Europe to his revolutionary medical work in Algeria, while challenging the colonial narrative surrounding his arrest and martyrdom.

Former petty criminal Ali la Pointe becomes a commander of the Algerian Front de Liberation Nationale, directing a guerilla insurgency against the colonial French occupation. Paratrooper commander Colonel Phillippe Mathieu, a veteran of World War II and the First Indochina War, is sent to Algeria to reinforce efforts to squelch the uprisings.

Directed by Kamal Dehane

Beginning with a promotional reel encouraging farming investments in Algeria and ending with the secret 1950s nuclear tests that France conducted using Algerian prisoners, How Much I Love You appropriates archival footage produced by the French colonial powers in Algeria. Meddour’s approach is disarmingly simple and yet awe-inspiring—his caustic undoing of colonial discourse is underscored by a liberating release of humor.

Film describes the miserable existence of a charcoal-burner who is barely able to feed his family. His search for work in town ends in failure and he is forced to return to his village.

Algiers, a few years after the civil war. Amal and Samir have decided to celebrate their twentieth wedding anniversary in a restaurant. While on their way, their share their views on Algeria: Amal talks about lost illusions and Samir about the necessity to cope with them. At the same time, their son Fahim and his friends Feriel and Reda are wandering about in a hostile Algiers about to steal their youth.

In 1967, Visconti came to Algiers for the filming of The Stranger with Mastroianni and Anna Karina. Camus, during his lifetime, had always refused to allow one of his novels to be brought to the screen. His family made another decision. The filming of the film was experienced in Algiers, like a posthumous return of the writer to Algiers. During filming, a young filmmaker specializing in documentaries Gérard Patris attempts a report on the impact of the filming of The Stranger on the Algerians. Interspersed with sequences from the shooting of Visconti's film, he films Poncet, Maisonseul, Bénisti and Sénac, friends of Camus, in full discussions to situate Camus and his work in a sociological and historical context. “The idea is for us to show people, others, ourselves as if they could all be Meursault, or at least the witnesses concerned to his drama.”

Rabie is a kid from Sétif in 1980, trying to collect money to buy a wheelchair for his paralyzid sister Sassia, so she can get out of the house.

More than fifty years after the release of the film “The Battle of Algiers” in theaters in June 1966, director Salim Aggar found, after a search which lasted more than a year and a half, the actors, extras and technicians who worked on the film directed by Gillo Pentecorvo and produced by Yacef Saadi. In this documentary full of anecdotes and stories about the filming of the film, the director found the actress who played the role of Hassiba Ben Bouali, the young 17-year-old actress who played Bouhamidi's bride but especially certain figures important parts of the film who were barely 10 years old at the time of filming and who no one will recognize today. Beyond the important historical aspect of the film, the documentary focused mainly on the social, cinematographic and cultural aspect of the film and its impact on a generation which had just regained independence.

The image of French prisoners was very often evoked in Algerian cinema and literature, but until today, no Algerian or even European report or documentary had given voice to one of these French prisoners of the war of Algeria. In the interest of truth and writing history, we set out in search of one of these French witnesses. This witness is René Rouby, prisoner of Amirouche's group for more than 114 days in 1958 in the Akfadou region in Kabylia. This is the first testimony from a French prisoner of the ALN (the National Liberation Army).

Between 1954-1962, one hundred to three hundred young French people refused to participate in the Algerian war. These rebels, soldiers or conscripts were non-violent or anti-colonialists. Some took refuge in Switzerland where Swiss citizens came to their aid, while in France they were condemned as traitors to the country. In 1962, a few months after Independence, Villi Hermann went to a region devastated by war near the Algerian-Moroccan border, to help rebuild a school. In 2016 he returned to Algeria and reunited with his former students. He also met French refractories, now living in France or Switzerland.

"Yasmina" filmed in 1961 in the middle of the Algerian war tells the story of a little Algerian girl with her hen and her family whose father was killed in a bombing by the French colonial army of occupation. The family, after a long journey, heads towards the refugee camps on the Tunisian border. Produced by the Cinema Service of the Provisional Government of the Algerian Republic (GPRA) in the midst of the war of independence, these films were intended to re-inform the population and international public opinion on the abuses committed by the French colonial army: torture, arrests and arbitrary executions, napalm bombings, fires in douars, entire villages wiped off the map, etc. which the French media described as a "pacification" campaign. The latter censoring or reorienting any images that could harm the colonial narrative.

The Algerian Sahara is the most exceptional deserts. He densifies everything he hosts, men and nature, and invites you to pay attention to the world. Jean-Louis and Odette Bernezat were born at the foot of the Alps, but it was in the Sahara that they found their way, and devoted almost forty years to the discovery of this environment and have extraordinary knowledge to share. Director Maryse Bergonzat accompanies them, in a meha, in the Hoggar in Algeria, with their Tuareg friends. A privileged place to appreciate the desert, its landscapes, its inhabitants, its laws and its stories, in the company of exceptional guides.

1962, at the end of the Algerian War, Algerian independence activists are released from Rennes prison. For one night, filmmaker Yann Le Masson films them. They tell him their vision for the future of Algeria and the place women must occupy in the new society to be built. Fifty years later, with the soundtrack missing, Raphaël Pillosio sets out to find these women. Two deaf people set about lip-reading the women filmed by Yann Le Masson, revealing snatches of sentences, words cut short by the camera's shifts. An investigative film in which the few activists still alive discover their old testimonies and tell us their silent story. The reconstruction of the lost soundtrack will remain in suspense; no happy ending will come to absorb the absence, to cancel the ferocious operation of time. An essay film about cinema that depicts their disappearance, and forever keeps them alive.

In prison in colonial Algeria, shortly after the end of the Second World War, three indigenous cellmates make out. Once free, they attack the authority represented by the triad of the boss, the gendarme and the administrator. “Living the colonial condition,” confided Tewfik Farès, “is something! It’s not sociologically or historically speaking. It’s life. And I think that’s all there in it. [...] For a hundred and thirty years, we wait. We hold back. We push back. We hope. At the same time, on different occasions, there are skirmishes, unrest.

This excellent feature-length documentary - the story of the imperialist colonization of Africa - is a film about death. Its most shocking sequences derive from the captured French film archives in Algeria containing - unbelievably - masses of French-shot documentary footage of their tortures, massacres and executions of Algerians. The real death of children, passers-by, resistance fighters, one after the other, becomes unbearable. Rather than be blatant propaganda, the film convinces entirely by its visual evidence, constituting an object lesson for revolutionary cinema.

A French teacher in a small Algerian village during the Algerian War forms an unexpected bond with a dissident who is ordered to be turned in to the authorities.

He is a 75-year-old half-blind man. He takes 3000 steps every day. Since 2004 he has made a decision: he will no longer talk about cinema. Boudjemâa, our living memory. That of Algerian cinema, African cinema, Arab cinema, cinema in short. The Algiers Cinematheque. The “masterpiece of Algerian cinema”. Boudjemâa Karèche directed it for 34 years. So why does Boudjemâa no longer talk about cinema? The answer lies next to the circumstances which caused his ouster from the Cinémathèque. Boudjemâa was silent. The time has come for him to let the word think for itself.