一场看似微不足道的事故，却引发连锁反应，导致事态不断升级。

A year in the life of a young family in rural Iceland. We follow their struggles and triumphs while going through a separation. A story of memory and the love that remains.

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.

在萨达姆统治下的伊拉克，人们每天都在制裁下为生存而挣扎，九岁的赛义德必须运用自己的智慧去收集制作庆祝萨达姆・侯赛因总统生日的必备蛋糕所需的食材，否则就将面临牢狱之灾或死亡的后果。

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.

18岁孤女Marina自幼失怙，为完成奖学金申请必须远赴西班牙大西洋海岸，向素未谋面的祖父母索要签名。面对一大家子陌生亲戚，她游移在接纳与抵触的微妙氛围中。这场寻亲之旅不仅唤醒了尘封的家族温情，更揭开与往事相连的隐痛伤痕，Marina由此渐渐拼凑出记忆中早已模糊的父母形象——那些零散而矛盾的记忆碎片。

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。

当有两个男孩在尼泊尔的一个边境小镇上被绑架时，侦探警司普贾从加德满都被派来解决此案。但当她到达后，当地酝酿的政治动荡和暴力抗议让她偏离了调查轨道，她被迫寻求当地马德西女警官玛玛塔的帮助。通过搁置系统性的歧视，并克服日常的性别偏见，她们解决了这起案件——但这对她们个人而言又付出了怎样的代价呢？

在天眼尚未密布，监场保安仍会打瞌睡的二十世纪七十年代，名画大盗就是会光天化日，大剌剌走进美术馆，直接把猎物从墙上取下放入布袋运走。看似儿戏的一切，背后主谋还要是住在市郊、人畜无害的住家男人。凯莉·莱卡特完全弃用好莱坞盗宝片叙事公式，改以其擅长的左翼简约主义镜头，捕捉触犯艺术罪行者的日常生活、双面人的言行处境，以及事件周遭人情冷暖。阿瑟多夫的抽象画作未必是一个借口，但到头来凸显存在荒谬的公路逃亡，俨然为观众添加了不少欣赏和思考的层次。