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簡(jiǎn)介：　　The Search for a lost film from the 70s takes a young man from one of South America's largest indigenous communities on an existential journey in a post-colonial film about the right to one's own image.
　　In the 1970s, Oscar-winning French documentary filmmaker Pierre-Dominique Gaisseau moved with his family to Panama to make a film about the Kuna community, one of South America’s largest indigenous peoples. He promised them that they would see it, but for various reasons, production stalled and the film (with the working title ‘God is a Woman’) was never completed. But what happened to the unfinished film reels? That’s what young Arysteides Turpana, on the mandate of the Kuna elders, sets out to find out. His journey takes him to France, but gaining access to the dusty film reels is not easy. Following in his footsteps is Swiss-Panamanian director Andrés Peyrot, who has created one of the year’s biggest festival successes since its premiere at the Venice Film Festival. A film that manages to turn abstract questions about the right to own one’s own image and narrative into a relevant and existential necessity.
　　

簡(jiǎn)介：伊麗莎·薩穆迪奧和她四個(gè)月大的兒子的失蹤成為巴西的頭條新聞。主要嫌疑人是孩子的父親。八人因綁架和謀殺伊麗莎而被定罪，但她的尸體從未被發(fā)現。

簡(jiǎn)介：　　在90年代的阿根廷，一名高中生被謀殺印發(fā)了大規?？棺h。在這部紀錄片中，她的親人重新講述了此事件，以及她們追求正義而做出的努力

簡(jiǎn)介：　　When Israel was established and civil war broke out hundreds of Palestinian villages were destroyed. Tantura, bringing to light Israel's founding myth and its society's inability to come to terms with its dark past.

簡(jiǎn)介：　　Mexico is one of the world’s most dangerous countries for journalists. But courageous reporters continue to do their work regardless; without the press there would be no one revealing the extent to which crime and politics are intermingled. The judicial system hides behind claims of insufficient evidence to prosecute crimes, while journalists are the ones who provide such evidence.
　　In State of Silence four journalists discuss their work. One of them investigates illegal logging and environmental pollution, while another writes about police violence against migrants attempting to cross the border. The risks are great, and threats are commonplace. Almost 200 reporters have disappeared or been murdered since 2000.
　　A law was passed under President López Obrador enabling journalists and human rights activists to seek refuge in the US—but doesn’t leaving everything that you love behind you, mean the criminals have won? Some of the journalists return to Mexico because their work is too important. “When a journalist is murdered,” says one of them, “society’s right to be informed dies, too.”

簡(jiǎn)介：印度尼西亞每天使用 9300 萬(wàn)根一次性吸管。它們與其他塑料廢物一起最終進(jìn)入海洋，分解成微塑料，被海洋生物吃掉，最后出現在我們的盤(pán)子里供我們食用。這部紀錄片改編自電影制片人在全國各地拍攝的一系列電影，向印度尼西亞人展示他們所面臨的問(wèn)題的嚴重性。巴厘島歌手格德·羅比 (Gede Robi) 將塑料污染問(wèn)題作為他個(gè)人的奮斗目標。他與來(lái)自東爪哇的生物學(xué)家兼河流守衛普里吉·阿里桑迪 (Prigi Arisandi) 聯(lián)手，抗議印度尼西亞進(jìn)口廢塑料。他們一起收集有關(guān)塑料污染程度的證據。他們會(huì )見(jiàn)專(zhuān)家、活動(dòng)人士并進(jìn)行研究（包括對他們自己的研究），以了解塑料對我們的環(huán)境和健康的影響。

簡(jiǎn)介：

跟隨這部紀錄片了解拉里退出舞臺四年后復出的歷程，了解她如何蛻變?yōu)槿缃竦倪@位非凡藝人。

簡(jiǎn)介：這部扣人心弦的紀錄片探究了一名少女被前男友綁架的案件，本案是巴西最令人震驚的人質(zhì)事件之一。