In the heyday of the jute industry, millions of people in Bengal made their living doing this laborious work, which has hardly changed since the industrial revolution. The 100-year-old machinery has been endlessly repaired. State aid kept this sustainable alternative to plastic going, but its future looks bleak.
In beautifully composed shots, Nishtha Jain (Gulabi Gang [2012], Lakshmi and Me [2007]) shows the last vestiges of the industry. She follows the entire production chain, from cutting and drying the reed along the river to weaving in two of the biggest mills in the area. Along endless rows of antique looms, the air thick with dusty fibers, workers carry out their routine work. Accidents and jammed machines are commonplace; workers’ faces reveal the exhaustion of a lifetime of labour.
Meanwhile, the union is fighting for a minimum wage equivalent to 250 US dollars a month. During their break, the workers speak out. “Nowadays nobody cares about quality, just more production,” says one. Not long afterwards, one of the mills closes its doors after more than a hundred years.

A view inside the life of former New Zealand Prime Minister Jacinda Ardern, capturing her through five tumultuous years in power and beyond as she redefined leadership on the world stage.
Jacinda Ardern’s outlook is summarized by a quote from her childhood hero, Sir Ernest Shackleton: “Optimism is true moral courage.” She reluctantly took on what she called “the worst job in politics” and led with humanity, compassion, and common sense. Ardern guided her country through the pandemic by relying on science and risked her popularity by reforming gun laws and stepping down earlier than expected.
Co-directors Michelle Walshe and Lindsay Utz craft an intimate portrait of Ardern’s journey, featuring footage shot by her husband and classified audio interviews recorded while she was prime minister. As only the second head of state in the world to give birth in office, she faced relentless ridicule but left office saddened rather than hardened.
Prime Minister is much like Ardern herself: eloquent, compassionate, funny, and inspiring.

Katia和Maurice Krafft除了彼此相爱之外，还深深迷恋着火山。二十年来，这对热爱冒险的法国夫妇纵情于与自然之间惊险、刺激的“三角恋”。两人追随全球的火山喷发和余波，用惊艳的摄影和震撼人心的影像记录他们的发现，并通过媒体和巡回演讲与好奇的观众们分享自身经历。最终，Katia和Maurice于1991年日本云仙 (Unzen) 的一次火山爆发中丧命，但他们给世人留下了关于自然的丰富知识和遗产。
这部隽意满满、充满视觉震撼的作品荣获2022圣丹斯电影节美国纪录片竞赛单元最佳剪辑奖，同时亦被选为2022瑞士真实影展开幕片。

2020年全球正集中抗疫之际，印度政府颁布新的农业法案，容许私营企业进入市场并囤积农产品，农民生计顿时备受威胁，一场大规模农民抗争活动一触即发。数十万民众走上新德里街头，高呼要求政府撤回条例。面对政府机关操控舆论，将维护基本利益的农民抗争抹黑为暴动，印度农民毫不退缩，持续抗争400日，誓要捍卫公义！Nishtha Jain素来关注印度劳工权益，前作《最后织人》讲述黄麻工厂工人的日常，今次与新晋纪录片导演Akash Basumatari合作，为这场历时超过一年的农民起义留下纪录。

在日本，每年都有数以万计的人消失得无影无踪。抛弃原生家庭或一段情感关系、躲避债务、逃离黑帮的威胁……人们选择“人间蒸发”的理由各不相同。夜深人静的时候，有“夜逃公司”悄悄帮助这类顾客完美失踪，并实现人生的重启。以一种亲密而冷静的方式捕捉到这一独特的当代社会现象，影片呈现 了蒸发者以及背后被抛下的人们的内心挣扎与自我和解。
该片荣获第39届慕尼黑国际纪录片电影节（DOKfest München）国际竞赛最佳影片（VIKTOR Main Competition DOKinternational）。

A celebration of a community of Argentine cowboys and cowgirls, known as Gauchos, living beyond the boundaries of the modern world.

Second part in Wang Bing's documentary trilogy about young Chinese people working in sweat shops.

When some workers make history by becoming the first unionized Amazon workplace in the United States, their victory stands as extraordinary for any union, let alone the Amazon Labor Union (ALU), which succeeded with no prior organizing experience, institutional backing or substantial budget. These leaders, including the charismatic Chris Smalls, embraced their group’s unique persona and highly unconventional strategies, like wearing Money Heist costumes at press conferences or distributing free marijuana to workers, and did not back down in the face of near-impossible hurdles, including a dire lack of resources, interpersonal tensions, and the ruthless tactics of a corporate giant.
In this vérité documentation of their organizing, what emerges is a surprising turn of events led by an unwavering determination and a belief in labour-power. Heralded as the most important win for labour since the 1930s, ALU’s historic grassroots campaign demonstrates the profound ability of collective action to awaken the inherent power of the working class.

The destruction caused by the war against Ukraine is shown in lengthy tableaux. Intercepted phone conversations between Russian soldiers and their families set up a shocking parallel world. Sound and image stare each other in the face, stunned.

一群纽约市的灵媒为客户进行深度而私密的解读，展现出一幅孤独、连接与治愈的万花筒般的图景。

高雄前鎮漁港每年十二月到隔年一月，有近一百艘魷釣船從東經120度航向西經60度，前往西南大西洋漁場的福克蘭群島外海作業，捕釣台灣日常生活中常見的阿根廷魷魚，而這段大約耗時35至40天的枯悶航程，被船員們稱之為——「水路」。2015年1月1日，一艘船身長65米，寬11米的900噸魷釣船，從前鎮漁港啟航，將載著60名來自東南亞各國的船員，前往與台灣時差12小時的福克蘭群島外海作業，影片是關於這群海上勞動者的遠洋討海紀行。

In the captivating country of Bhutan, Amber, an agent of Gross National Happiness, goes from house to house checking the levels of people’s well-being. While he is efficient at measuring others’ emotions, he is abandoning his own. At age 40, he lives with his mother and tries to find love but, as a minority Nepali, he has had difficulty finding a wife. Follow Amber on his inner journey alongside people hailing from various tribes of Bhutan—farmers, monks, city dwellers and nomads, all making new acquaintances and reflecting on their lives every now and then. Eventually, Amber comes to doubt the meaning of joy and the priceless nature of a fulfilling life. Agent of Happiness revolves around the universal human struggle to find happiness and fulfillment. This aesthetic emphasizes warmth, joy and glory.

In Tora, an Indian village on the border with Myanmar, the rhythm of life is determined by daylight and darkness. Time seems to stand still: people still cook on wood fires, even indoors, and there is no running water. When night falls though, some flashlights appear, and at one point a solar panel is even installed.
The filmmakers spend a lot of time with the villagers, who are disarmingly uninhibited, partly because they are not used to cameras or videos. Sparse news of the outside world arrives only via transistor radios. An elderly resident dreams of sovereignty for his people. An enterprising mother with a small shop would like to sell ice cream to pay boarding school fees for her three children, and she is saving for a fridge.
As it happens, the village is on the verge of change: it seems that electricity is finally on its way. Previous attempts failed, and now, too, the construction work on the infrastructure is going painfully slowly. Will electricity arrive this time? And will it bring the close-knit community the progress it is hoping for?
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30 years ago, Palestinian actress Hiam Abbass left her native village Deir Hanna in Galilee to follow her acting dream in France. Camera in hand, her daughter Lina questions her mother’s bold choices and the way the women in her family – who she has left behind – have influenced her life. How do those who live on the screen of our memories define who we are today ?

作为坂本龙一献给世界最后的礼物，影片记录了坂本龙一生前最后一场钢琴独奏音乐会，其中包括《圣诞快乐，劳伦斯先生》《末代皇帝》《水》等在内的二十首经典曲目。

美军撤出阿富汗，塔利班迅即攻入喀布尔，进占印有「好莱坞门」字样的军事设施，据称是中央情报局基地。不但价值数十亿美元武器装备唾手可得，还有大量药物、健身器材、威士忌。正当民众争相逃离，埃及裔导演伊巴谦纳沙反其道而行，携同摄像机及翻译员，获塔利班批准随军拍摄一年。并非探探班，严密监视下，镜头会被拦阻，性命随时不保，对方只想利用外国记者粉饰宣传，观察式纪录却巧妙突破防线，看似无关重要的时刻，每每反映其中荒谬与当地苦难。

乌克兰纪录片《马里乌波尔 20 天》（20 days in Mariupol）获得第 96 届奥斯卡“最佳外语片奖”提名，将参加2024年奥斯卡奖的角逐。 《马里乌波尔 20 天》是一部由普利策奖获得者、乌克兰记者兼导演 Mstislav Chernov 拍摄的影片，展现了美联社国际记者团队在马里乌波尔包围圈中的工作。

《登楼叹》是对中国追求财富和进步的悖论进行的一次印象派探索，探讨了今天实现所谓的 "中国梦 "是什么样子。 主创是华裔混血女导演杰西卡·金顿（Jessica Kingdon），拿到了翠贝卡电影节最佳纪录片。片名《登楼叹》来源于导演的外曾祖父郑泽（1882-1920）在1912年写的一首感叹家国的诗，郑曾经是辛亥革命时期政治团体南社的成员。

三年前，年迈的母亲打来电话，让“我”给她拍张照片当遗像。父亲沉迷彩票，家产散尽。最离奇的哥哥，他从小就认为自己可以通灵，是神明的媒介。面对死亡的时候，“我”是否准备好失去父母？带着隔阂与心结，导演回了一次家。而随着拍摄与生活，他发现自己与家庭的关系竟发生了变化。导演以自身家庭为素材，缓缓讲述这个让他二十多年间不愿踏入的家族故事。本片入围瑞士真实影展，获台北电影节最佳纪录片、最佳剪辑、观众票选最佳影片，评审团全票通过获得百万首奖。“拍出家人、土地和神明间的渴望与拉扯，不煽情却无比动人。”

中国最大童装生产基地浙江湖州织里镇，有18000多个大大小小的童装厂。纪录片主要拍摄了一群来自安徽和河南的年轻工人。长江沿岸的农村青年来这里打工，青春在这个风雨飘摇、极度努力的社会，希望依然存在。