A short film about the relationship between an Aboriginal daughter and her white mother. The daughter, now the sole carer of her dying mother, dreams of far away places, the haunted look in her eyes loaded with a sense of what could have been. Famous Aboriginal singer, Jimmy Little, sings 'Royal Telephone', evoking the presence of Christianity and its role in the assimilation of Aboriginal people. The final scene sees the daughter lying in a foetal position next to her mother, crying. Assimilation, then, can be understood as a pain experienced by both the Aboriginal daughter as well as the white mother.

　　克里斯·马克尔最早的纪录片之一（1957年），可能也是他最好的纪录片之一，《来自西伯利亚的信》长达一个小时，将新发现的镜头与富有创意的评论结合在一起，尤其值得纪念的是，在这一段中，镜头不断重复，而屏幕外的评论则用不同的意识形态诠释来改变其含义。这也许是我们最早的例子，标记的无与伦比的散文风格，因此不可缺少的工作。

澳大利亚影片《正派的有色人种姑娘》（Nice Colored Girls，1987）通过当代澳大利亚土著妓女和她们的“甜心爸爸”（白人嫖客）的关系，展现白人将土著女性的身体当作了殖民地异国情调土地的象征性延伸。

　　1967年拍得美国纪实片，片长84分钟，提提卡蠢事 Titicut Follies ，还被翻成《提提卡失序记事》《蒂蒂喀特轻松歌舞剧》
　　这部精神病监狱实录，公开放映之前必须获得狱方主管的批准，因为暴露出太多的阴暗面而通不过狱方的审查。
　　记录了精神病人倍受误解和虐待的可怕时期。导演用手提摄象机营造了亲临地狱的感觉，眼睁睁的看着自己的同类仅是由于别人的误解或自身精神问题而完全丧失做人的基本权利。

　　本片是西班牙超现实主义电影导演路易斯•布努埃尔的唯一一部纪录片，描绘了位于西班牙中西部山脉地带拉斯赫德斯（Las Hurdes）的生活状态。该地区道路崎岖出行困难，拉斯赫德斯人几乎生活在一种原始赤贫状态中，缺吃少穿，没有基本的卫生概念，疾病流行，死亡阴影挥之不去。

故事讲一个南非北部乡村的男人，到约翰内斯堡城里谋生的故事；那时的南非，种族隔离政策；是的黑人在城里工作，只能白天进城，晚上出城；而城里的工作需要有工作签证许可，白人与黑人地位的不同，生活的境遇也是天上地下；男人工作换了又换，却还在去另一个城市还是回乡中徘徊；男人的女人来了，男人的压力也大了；女人积极面对生来的处境，想要外出工作补贴家用和为孩子上学存钱；男人面对城市生活带来的改变以及家中女人谋求独立的要求；城市的繁华与游离的失业，传统的习俗和男人的家庭地位，在变革中的社会里，家庭面临的危机如平静水面下的暗涌。

神怪的騎馬人：活著的海地天神
這一部1947的實驗片，對我來說比較像是紀錄片，
馬雅黛倫的鏡頭彷彿帶領著waye，
前往40年代的海地，在一旁，觀看著海地人民的宗教信仰儀式，是很神奇的一次體驗.

这部纪录片是对鲍勃迪伦1965年英国巡演的忠实记录，导演彭内贝克用影像清晰的说明那时的鲍勃迪伦与披头士是多么的不同。与同时期的《苦难日之夜》相比，《别回头》更直接，深刻，对自己的拍摄对象也没有造星般的刻意吹捧，甚至还毫不掩饰的可以嘲讽，但是，再冷静的镜头都无法掩盖年轻迪伦的灿烂光芒，同现在的老迪伦相比，年轻的他无与伦比的傲慢，机智，激情洋溢，而其中一段以垮掉派代表艾伦金斯堡为背景的开场更是弥足珍贵。

90min
A brilliant documentary about a unique set of people.
Joe Leahy is the half-caste son of one of the first explorers of the Papua New Guinean interior. His relations with the local Ganiga tribe who work his coffee plantation on their land are difficult at times. However he has successfully managed to get them to agree to open a second plantation in partnership with him. Things are looking up until the international coffee market hits rough times and conflict seems imminent between the Ganiga and their neighbouring traditional enemies.

An African travels to Paris to learn about the construction of tall buildings, but is soon taken up with the oddities of French life.

Demonstrates how over 70 years Trobrianders have ingeniously adapted the missionary-introduced game of cricket to the needs of their society.

Imagine what it would be like if black settlers arrived to settle a continent inhabited by white natives? In 1788, the first white settlers arrived in Botany Bay to begin the process of white colonisation of Australia. But in Babakiueria, the roles are reversed in a delightful and light-hearted look at colonisation of a different kind. This satirical examination of black-white relations in Australia first screened on ABC TV in 1986 to widespread acclaim with both critics and audiences alike. This is the story of the fictitious land of Babakiueria, where white people are the minority and must obey black laws. Aboriginal actors Michelle Torres and Bob Maza (Heartland) and supported by a number of familiar faces from the time, including Cecily Polson (E-Street) and Tony Barry, who starred in major ABC-TV hits such as I Can Jump Puddles and his Penguin award-winning Scales of Justice. Babakiueria was awarded the United Nations Media Peace Prize in 1987.

This is a documentary about direct-cinema from its very beginnings (Nanook of the North) to the fake-direct-cinema of the Blair Witch Project. All the important direct-cinema filmmakers are portrayed and/or interviewed: Leacock, Wiseman, Maysles, Pennebaker, Reisz and others.

死鸟是由罗伯特·加德纳关于新几内亚的达尼人1964年的纪录片。它被制作为哈佛大学皮博迪远征的一部分，研究新几内亚的高地，当时在世界上欧洲人uncolonized仅存的地区之一。

《拔出雏菊》(Pull My Daisy,1959)的受到瞩目，即是因为本片与敲击氛围的紧密关联：片中的剧情是由杰克•克鲁艾Jack Kerouac撰述并朗诵，而它松散即兴的外观，也反映出那种"痞子"(hin)的生活态度。

Tony Buba, a film maker from Braddock, Pennsylvania, tells the story of his hometown's decline (along with the rest of the steel mill towns along the Monongahela River) while he dreams of making higher budget films. The picture documents, in a lighthearted way, the community anxiety and activism that accompanied the failure of the steel industry around Pittsburgh, Pennsylvania.