Even a bird needs a nest is a documentary about the incredible situation of hundreds families in Phnom Penh, the capital and largest city of Cambodia.

They lived quietly around Boeng Kak Lake, until the government granted a 99 years lease to a corporation to use the land for commercial purposes in 2007. Since this date, the lake has been filled with sand. The residents have been forcibly evicted from their homes, and obliged to accept inadequate relocations to a place far from work opportunities, and lacking basic services and infrastructures. If they refuse, their homes are still destroyed with the violent help of the police forces.

Some families headed by a group of women continue to protest and organize the resistance…

At the tender age of 70, Grandma Lo-Fi, started recording and releasing her own music straight from the living room. 7 years later she had 59 albums to her name with more than 600 songs – an eccentric myriad of catchy compositions mixing in her pets, found toys, kitchen percussions and Casio keyboards. Sigrídur Níelsdóttir is her name, and before long the Icelandic/Danish musician became an adored cult figure in the Icelandic music scene. Shot mostly on Super-8 and 16mm ‘Grandma Lo-fi’ is a cinematic tribute to her boundless creativity, created by three musicians and artists whom she inspired. 

Many years after the “explosion” of the Tropicalia movement in 1967, 1968 and 1969, it still influences the cultural production both domestically and internationally. 
“Tropicalia” is a feature length documentary that revisits this important Brazilian cultural movement through the recovery of valuable archives and exclusive encounters with renowned foreign artists and Brazilian “Tropicalia” icons such as Gaetano Veloso and Gilberto Gil, among others.

Amos Gitai creates a kaleidoscope of images and associations from the distant Jewish past and the immediate Israeli present and brings us a deeply personal and resonant meditation on Jewish and Israeli identity. Using both fiction and documentary fragments, Gitai links his family history to ancient history. Through exquisitely composed long takes, he begins the film with his country’s biography, especially during the Roman siege of Masada during the Jewish rebellion of the first century (C.E.), and contrasts them to the young soldiers enlisting in Israel's army today, including his own son, making the film "a passionate expression of Mr. Gitai's anguish at living in a country in a continual state of war" (Stephen Holden, The New York Times).

The cycles of violence are never-ending, but so are the bonds of family. With Jeanne Moreau narrating poems, letters, and journal entries and "abstractly beautiful" (V. A. Musetto, New York Post) cinematography by Stefano Falivene, we are taken into a dreamlike state of overlapping images from different periods of Amos Gitai’s life and that of his mother Efratia, linking generations of Jews and Israelis within the warm embrace of memory.

Carmel feels like a cinematic poem. Its sequences and incidents are not designed to construct a linear narrative, as if chaos would be the only possibility in the world Amos Gitai sees around him. Sounds, music and images bang together. So is Gustav Mahler’s 1^st Symphony bursting through the claustrophobic reality of people engaged in war or in an account of Amos Gitai's personal exploits as a soldier shot down in a helicopter during the Yom Kippur War. The filmmaker has turned into a great chronicler of his country.

We follow the journey of Munio, Amos Gitai’s father, born in 1909 in Silesia, Poland, the son of a sharecropper of a Prussian junker. At 18, Munio leaves for Berlin and Dessau to study the Bauhaus of Walter Gropius, Kandisky and Paul Klee. In 1933 the Bauhaus is closed and soon after the Nazis accuse Munio of betraying the German people. Munio is jailed, then deported to Basel. From there he leaves for Palestine. Once in Haifa, he starts his career as an architect, adapting the European modernist principles for the Middle East.
The movie is a voyage searching for the relationships between a father and his son, architecture and movies, the history of a journey and intimate memories. Like in the movie CARMEL, based on director’s mother, Efratia's letters, there is no chronological sequence of events. It is not a reconstituted biography, but a mosaic. The story comes together piece by piece, as a poetical association of pictures, faces, voyages, real architecture and snippets of fiction. The movie interweaves historical events and intimate memories. Amos Gitai examines the way that architecture represents changes in society and those that shape the architecture. For the filmmaker, the traveler to these places, reality and remembrance are juxtapositions of fragments becoming incarnate in the movie

213 THE GANG PROJECT is a powerful, moving and highly stylized feature length documentary that dramatically captures the highs and horrors of Los Angeles’ infamous Gang culture -- Black, White and Brown -- behind prison bars and in the streets of L.A but also follows gang members’ wives.

The documentary introduces Zone, Chako, Grumpy and Mr. Cholo with Devil Face, The Aryan Princess, Puppet, Bandit, Tanjareen and Jim Runion.  Music is by Dirty Daniel and Otto of Never Dead, Bill Wandel, Zone, Rick Hard, Final War and Jose Reyes.

“I’m sorry for my sins.  Please forgive me.  If not, then I deserve to go to hell.”

Bandit, of Villa Boyz

They are Angelo Debarre, Moreno, Ninine Garcia and Tchavolo Schmitt.

They are guitarists. They are gypsies. They play and perpetuate the music of Django Reinhardt.

They have also a certain sense of humor, of friendship and a personal way to live their life standing.

Penetrating in tiptoe in their camps, their caravans or their apartments, we discover between notes and words, a community that preserves an authentic and particular way of life, a taste for difference, where in spite of difficulties, the important thing is the pleasure of playing guitar. 

It is the story of 4 people struggling in Africa in order to change their life …

Each one on his level, they set up ambitious projects.

There is Tiken Jah Fakoly who tries to convince that positive Africa exists. Singer recognized worldwide, he mobilizes politicians on peace actions and tries to support and represent the voice of all these unknown persons who act in everyday life. Among these unknown persons, there are Rosine, Michel and Diabson who have the same purpose … fighting for education, justice and culture. 

FRENCH RELEASE THE SEPTEMBER 6^TH 2013

In 1932, writer Paul Nizan published "The Watchdogs", a book denouncing the philosophers and writers of his era for imposing themselves as guardians of the establishment behind a pretense of intellectual neutrality. The new watchdogs of today are the journalists, editorial writers and media-friendly experts who openly crusade for free markets and the maintenance of social order. With sardonic humor, The New Watchdogs lambastes these pundits posing as independent, unbiased, pluralistic forces of democratic opposition. The film convincingly and accurately exposes the growing threat of news being manufactured and deformed into a commodity by big business. 

“You have to give up your old life before you can begin a new one” is the motto of the eight members of the Roc Kidz Crew, one of the most authentic hip-hop formations currently on the circuit. The dancers leave their middle-class lives and high material expectations behind them and make their way as a multicultural break-dancing crew to the South, on a tour that promises neither profit nor fame. A journey full of surprises and positive encounters: with their love of dance, music and freedom, the Roc Kidz Crew radiates a pure zest for life that crosses all social and ethnic borders.