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An elderly Ruc woman, cave born 60 plus years ago, lives in a village with family. She passes down their endangered language while longing for her cave home, where her late mother's voice calls to her.

Roger uses his son Igor to ruthlessly traffic and exploit undocumented immigrants. When one of the immigrants is killed, Igor is guilt-ridden and wants to care for the dead man's family against his father's orders.

In the 1890s, Father Adolf Daens goes to Aalst, a textile town where child labor is rife, pay and working conditions are horrible, the poor have no vote, and the Catholic church backs the petite bourgeoisie in oppressing workers. He writes a few columns for the Catholic paper, and soon workers are listening and the powerful are in an uproar. He's expelled from the Catholic party, so he starts the Christian Democrats and is elected to Parliament. After Rome disciplines him, he must choose between two callings, as priest and as champion of workers. In subplots, a courageous young woman falls in love with a socialist and survives a shop foreman's rape; children die; prelates play billiards.

In an abandoned hospital, an encounter between a lonely sex streamer and a grieving old lady unleashes a flood of memories and virtual data.

Laosan, a young family man, spends all his time smoking opium. For his community, lost in the heart of the Laotian jungle, opium farming is the only way to survive. But opium is also the poison that puts men to sleep and kills their desires.

A film crew crisscrosses England trying to unravel the mystery surrounding a record released 30 years earlier, "Spirit of Eden", that defined the passage from light to shadow of its makers, the band Talk Talk and its lead singer Mark Hollis. From overwhelming obstacles to unpredictable encounters, their journey soon turns into an organic quest. With silence as a horizon line. And punk as a philosophy, thinking that music is accessible to all and that the human spirit is above the technique.

Can love resuscitate a languishing man?

Sabri left to combat in Syria, leaving his family alone in the face of such sudden and unbearable absence. Saliha, his mother, decided not to keep silent. Her story intertwines that of other parents who unite and fight against the youth indoctrination by the jihadist networks.

At nightfall, a four-engine aircraft landed at an airport. Only one passenger goes down, Joe, the last survivor of the Jewish family Falsch. He has left Berlin for forty years, in 1938. In the arrival room his dead family is there: parents, sister, brother, sister-in-law, aunt (all of them dead in concentration camps), the uncle and his wife (exiled in England, passed in Palestine and returned to die in Berlin) and Lili, the young German, daughter of a Nazi, whom he loved and who died under the bombing of Berlin. A night of celebration but also face to face dramatic for those thirteen people who have all suffered.

The Amazon flows lazily through the goldmine-gashed landscape of northern Peru. Using real eyewitness accounts, directors Bénédicte Liénard and Mary Jimenez tell the story of a young woman who winds up in the clutches of forced prostitution when her initially hopeful attempt to escape the constrictions of her village goes wrong. Step by step, she is robbed of her moral and physical integrity. The film reconstitutes a space of dignity and returns voice and identity to a fate formally made nameless. With its powerful imagery, the girl's traumatic odyssey embodies the destruction of life in a capitalist world in connection with horrific natural devastation.

In January 2017, a video of a young Gambian drowning in the waters of Venice's Grand Canal went viral on social networks. From the shore, passers-by insulted him without helping him. Filmed with a mobile phone, the body, petrified by the cold, appears to be sinking despite the lifebuoys thrown in its direction. He was 22 and his name was Pateh Sabally. 2500 miles away, the voices and faces of his family tell the story that preceded this tragedy, the story behind the images.

Through the screen of my phone, I see my grandmother. Her health is deteriorating. When I arrive in China, she has already passed away. I'm alone with my mother. She is entirely devoting herself to religion. As I walk around in the district where I grew up, I slowly realize that she was, just like me, craving for maternal love and that she will never find it.

This documentary about addiction is seen through the eyes of a mother and her son.

My father immortalized in family films the most beautiful moments of his life, while my mother's difficulties hit the blind spot of his images. Today, I revisit these images to tell a different story: that of a woman who sees her role as a mother take away her freedom step by step.

Aya grows up with her mother on the island of Lahou. Joyful and carefree, she likes to pick coconuts and sleep on the sand. However, her paradise is doomed to disappear under the waters. As the waves threaten her house, Aya makes a choice: the sea can rise, but she will not leave her island.

Three people near the end of their lives meet with choreographers, actors and musicians. They take part in a unique experience which involves music, dance and silence. Their journey becomes a tribute to the fragility of the human condition, between reality and representation, tragedy of the body and freedom of the spirit. Together they question their own relationship with death.

A hill in Kyrgyzstan inhabited by men, women, some children. Smoke, birds, a waste dump like a Leviathan. Among them, a traumatized former soldier, a grieving mother, young people deprived of a future, living and facing their destiny.

Summer is the season for stock cars. In the background, I recall the violent summer of my 18th birthday. As I relate the story of the man who is slowly killing me, the cars become unrecognizable, like a group of smoking but heroic wrecks.

An intimate portrait of director Peter Brook by his son, Simon Brook.

In 1991 the filmmaker met several homeless boys in Burundi. They agreed to be filmed as they grew up. In 2018 he recorded their fourth meeting. Some had died. Three reflect their existence in poverty and their hopes for a better life.