Helke Sander portrays Irene, a single mother and worker in a washing machine factory. In everyday life, she doesn't put up with anything, neither the unequal treatment at work nor the sexual harassment by men. But one thing is clear: without solidarity among her fellow women, she will not stand a chance.

By the coastal belts of Bangladesh, in a small village named 'Sutarkhali', RAKHI lives with her man SOUMEN (32) and their son RAHUL (6). Fighting against all the odds of the woods, along with around 100 families, they cultivate the land for generations. On May 25, 2009 when RAHUL is only 4 years old, a tidal surge hits the coastal belts of Bangladesh. For RAKHI, SOUMEN and RAHUL life is not the same anymore. 'Are You Listening!' is about RAKHI's hope to ensure a dignified future for her son RAHUL. It's about her jobless husband SOUMEN's frustration for failing to provide for his family and about a community's struggle to get back the land they have lost! Seasons change topography, even relations... Yet after the rain... They go out with spades and shovels to reclaim the life again!

Mum and I have always been close. This video essay builds on our conversations and mum’s photos of Kyiv she was sharing with me in WhatsApp after Russia’s full-scale invasion of Ukraine. The war cuts deep into the everyday realities, into our most intimate relations, disfigures the familiar. Against this violence, my mother holds on to life and stays attuned to its diverse forms, and I stay attuned to her.

本片讲述了因工致病的小人物易叶挺，试图用一己之力，努力改变中国电子工业禁“苯”的故事。
主创信息：
导演、剪辑师、第二摄影师 Lynn Zhang：纪录片导演，毕业于纽约大学纪录片专业。Lynn曾先后供职于纽约时报北京分社、亚洲协会纽约总部以及西班牙加泰罗尼亚电视台北京分社。
导演、制片人 Heather White：学者，毕业于哈佛大学。关注全球供应链及劳工问题研究。
联合制片人、副剪辑师 Xin Liu：旅美纪录片人，毕业于纽约大学纪录片专业。参与创作的纪录片作品包括《虚你人生》、《Complicit》、《7%》、《爷爷天团》等。
编剧、剪辑指导 Christopher Seward：美国著名剪辑师、制片人。曾为著名导演麦克默尔的御用剪辑师，操刀《华氏911》、《医疗内幕》、《濒死病胖子的减肥之旅》等。
摄影师 孙绍光：中国知名纪录片摄影师，纪录片作品包括《归途列车》、《千锤百炼》、《殇城》等。
The documentary follows the intimate journey of Chinese migrant worker Yi Yeting, a benzene-poisoned victim-turned-activist who takes o n the global electronic industry. While struggling to survive his own work-induced leukemia, he brings his fight against benzene from his hospital room where he helps other workers, to Silicon Valley and the international stage. Yi's efforts along with the support of others, ultimately contributes to Apple banning two of the most toxic chemicals, benzene and n-hexane, in its final assembly. Against huge odds Yi directly confronts corporate and government interests, while empowering and inspiring the people around him. His wife Liu Huihui, a stay-at-home mom, goes undercover to investigate an Apple supplier. Xiao Ya, an teenager rural migrant, who arrives in the city with hopes and dreams of a working "paradise" that she's imagined since she was a kid. Tragically she gets poisoned on her first job by n-hexane, a solvent she used in polishing iPhone screens, at a hidden Apple subcontractor. Inspired by Yi, she starts to help other sick workers. Ming Kunpeng, another benzene-poisoned protagonist we meet through Yi, can't bear the burden his illness places on his family, and commits suicide. Shot under the radar and with incredible access, the film explores global brands' social responsibly and consumers' role, while offering an in-depth look into love, family, Chinese culture, and the people sacrificing everything to make a difference.

Shot over five years, director Mia Ma follows her friend Julie as she tries to reinvent her future and find a way to live with schizophrenia.
Since being diagnosed, Julie has undergone various traditional and alternative medical treatments. The French health system deem her to be ‘80% mentally disabled’. But Julie fights to be accepted as an active member of society and struggles to find a way to live that benefits her. It’s a situation that must take into account her history of childhood trauma – one that she acknowledges but is keen to move on from. To Mia Ma, Julie is the heroine of her own story – one that is inspiring yet far from over.

For Maryam Tafakory, a film can have many lives and doesn’t need to be bound to a single medium or one mode of projection. A film can be fluid and take up many forms, based on its time and place of presentation. For Kassel Dokfest and the BALi Kino, Maryam Tafakory develops another iterating of her film MAST-DEL (17 Min., 2023), in which, in a performative reading, she tells us a story about forbidden bodies and desires inside and outside post-revolution Iranian cinema:
Two women lie together in bed. As the wind bashes against the window, one recalls a past date to the movie theatre. The narrated scene cannot be conveyed through images. Layers of found and original footage are superimposed to fill in some of the cracks, the deletions, the limits of representation – a love song that would never pass through the censors.
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Far from home and cut off from family and friends, Montreal’s Indigenous homeless population is the focus of No Address. Dreams of a better life in the big city can be met with harsh realities, as the individuals in this documentary recount. Often trying to flee circumstances created by colonialism and the effects of assimilation, the First Nations and Inuit people in this work share frank stories about their lives and the paths that took them to the streets of Montreal. Alanis Obomsawin presents an honest, stark portrayal of endemic homelessness while giving voice to those so often overlooked or made invisible on the streets of every city in Canada.

According to the myth still in force in the coal towns of Patagonia, if a woman enters the mine, the earth becomes jealous. Then there is collapse and death. “Río turbio” parts of a dark personal experience to become a film about the silence of women who live in towns of men. How to film where our presence is prohibited? How to record the resonances of what does not sound? While the fog and the smoke of the mining plant covers the town, the choral voices of the women of Río Turbio start to tell their stories and make their way through the white ice and the hum of drills, until the structure of silence blows up.
Según el mito aún vigente en los pueblos carboneros de la Patagonia, si una mujer entra a mina, la tierra se pone celosa. Hay entonces derrumbe y muerte. parte de una oscura experiencia personal para transformarse en una película sobre el silencio de las mujeres que habitan pueblos de hombres. ¿Cómo filmar donde nuestra presencia está prohibida? ¿Cómo grabar las resonancias de lo que no suena? Mientras la niebla y el humo de la usina eléctrica cubren el pueblo, las voces de las mujeres de Río Turbio se abren paso con fuerza entre el blanco del hielo y los zumbidos de las máquinas perforadoras, hasta hacer saltar por los aires la estructura del silencio.

This video essay is a survivor manifesto. It gives voice to those who are very often lonely, brings them together and celebrates them. The author is convinced that it is their experience and skills that may lead the humankind to utopian society. A thorny path, paved with painful processes like getting even with traumas, healing and self-acceptation, could make the soil ready for a world dominated by empathy, self-reflection and queer love.
“This is a manifesto. For all the weirdos, freaks, trauma survivors, fruit cakes and fearlessly life loving people. This is to our creativity, to our wit, to our survival skills, to our ability to manage crisis…”

The sequences of a personal diary, highlighting the child-adult evolution, accompany the viewer on a journey marked by uncertainty, helplessness, and self-doubt, which eventually lead to escape. The video-poem oscillates between poetry and documentary, emphasizing a woman’s struggle to free herself from repression and regain her voice and strength.

The Globalization Tapes is a film made by workers for workers. The story isn’t told by experts, but by union members from palm oil plantations in Indonesia. Their experience is complemented by workers from both Colombia and Holland. The film powerfully documents their exploration of history, globalization, and how unions around the world can support each other and struggle together.
Using their own forbidden history as a case study, the Indonesian filmmakers trace the development of contemporary globalization from its roots in colonialism to the present. Through chilling first-hand accounts, The Globalization Tapes exposes the devastating role of militarism and repression in building the “global economy”, and explores the relationships between trade, third-world debt, and international institutions like the IMF, the World Bank, and the World Trade Organization. The film explains how these institutions shape and enforcing the corporate world order.
A collaboration between the Independent Plantation Workers’ Union of Sumatra (Indonesia), the International Union of Food and Agricultural Workers (IUF) and Vision Machine Film Project.

Every morning, a school bus passes Denise and her cousins Jonathan and Walter, without picking them up. An urgent and extremely timely close depiction of a Roma family’s everyday life and vulnerability in Italy, where the winds of fascism are blowing again. In a suburb in southern Milan is Villagio delle Rose, the Village of the Roses, a legal Roma camp where a few hundred people live in caravans and wooden houses. Inside the gates, life goes on quietly – but outside, a storm is blowing. The camp is continuously used as a political weapon in politics where populist parties vilify and threaten its existence. For almost six years, Hanna Heilborn has followed one of the families in the village and the closeness gives her a unique insight into Roma everyday life far beyond stereotypes. Elegantly interwoven with archive clippings, news footage, and activist Dijana Pavlovic’s political struggle for the camp’s residents, the everyday depiction is contrasted with vulnerability – and the right to a decent life.
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Protests against tightening of abortion law prove that women pose a real threat to prevailing power relations. However, this is not the only manifestation of their strength in recent years. The Women's Strike Continues shows that women's resistance in Poland has its history. The film depicts the history of female employees of public nurseries in Poznan, which in 2011 has begun to fight the marginalization of women's work. The reason was a drop in workers’ wages and an attempt to privatize Poznan nurseries. In response to activities of the municipal office, carers’ have joined the trade union fighting for the wage increases, improved working conditions, threatened the authorities with the strike and ultimately blocked the privatization of nurseries. However, their protest is still not over.

In this meditation on community, gentrification, and erasure, Stonewall veteran and trans activist Sylvia Rivera takes up residency on the Hudson River piers with a group of HIV-positive New Yorkers, as cranes raze vacant buildings for a new skyline.
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