How Yukong Moved the Mountains

Film about the third 'Weltfestspiele der Jugend und Studenten für den Frieden' in East Berlin, 1951. West Germany is represented as a degenerate country which has been occupied by the Americans and is still inclined to fascism. We see the construction of the stadium, the departure and arrival of the delegations, the opening and closing by Enrico Berlinguer, a sports event, the parade of the delegations, a visit to Potsdam, folk dancing, and police violence against youngsters from West Berlin who want to visit East Germany because of the games. The film is interlaced with shots from the Korean War and a parade by NATO-troops in West Germany. Featuring Robert Montgomery, Konrad Adenauer, Wilhelm Pieck, Dwight Eisenhower, Robert Leer and Erich Honecker. The crew comprised no less than 24 cameramen. This project was the first great colour film Ivens co-operated in.

This documentary presents the Vietnam War as seen from within Vietnam, focusing on civilian life, industrial and agricultural labor, and organized resistance under sustained aerial bombardment. Introduced by Bertrand Russell, the film situates the conflict within a broader history of anti-occupation struggles, drawing parallels to World War II resistance movements. Footage includes interviews with Vietnamese leaders, scenes of air defense, and mass political mobilization.

"Demain à Nanguila" follows Moussa, a young man who leaves his village for Bamako in search of opportunity but instead encounters hardship and disillusionment. His return home becomes a reflection on rural exodus, tradition, and the challenges facing Mali in the early years of independence.

Filmed in Laos in 1968, this four-part documentary examines the armed struggle against foreign intervention during the Indochina conflicts. The film focuses on the relationship between the population and guerrilla forces engaged in the war.

Instructional film about the (former) biggest harbour in the world, with a hybrid format. Well known Ivens themes are revisited, like The Flying Dutchman in the fiction part of the film, who returns to the modern day Rotterdam, that has recovered very well after the devastating bombardments in the second world war.

In seven different parts, Godard, Ivens, Klein, Lelouch, Marker, Resnais, and Varda show their sympathy for the North-Vietnamese army during the Vietnam War.

Lili lives near the port of Le Havre. She is mourning her lover Pablo, who died leaving unfinished a video game he was developing for a Japanese trust. A young boy decides to take over the project, while Lili, guided by a mysterious figure called Doctor Digitalis, struggles with her grief and searches for meaning in his absence. The film blends reality and dreamlike visions against the backdrop of the docks and port landscapes.

In 1962 Joris Ivens was invited to Chile for teaching and filmmaking. Together with students he made …A Valparaíso, one of his most poetic films. Contrasting the prestigious history of the seaport with the present the film sketches a portrait of the city, built on 42 hills, with its wealth and poverty, its daily life on the streets, the stairs, the rack railways and in the bars. Although the port has lost its importance, the rich past is still present in the impoverished city. The film echoes this ambiguous situation in its dialectical poetic style, interweaving the daily life reality (of 1963) with the history of the city and changing from black and white to colour, finally leaving us with hopeful perspective for the children who are playing on the stairs and hills of this beautiful town.

Documentary compiled from archives and accompanied by a poet's commentary, shows the sweep of modern Italian history from 1911 to 1961, centering on the conditions leading to Fascism and the post-WWII reaction to the Fascist experience.

This documentary documents the construction of the Afsluitdijk, the massive hydraulic engineering project that sealed off the Zuiderzee from the North Sea. Filmed over several years, it focuses on the labor required to build the dike and the final closing of the last gap in 1929.

A poetic ode to the River Seine, Ivens' distinguished camera eye surveys its lively banks and step-stone canals with a vérité candor, a beguiling elan.

Joris Ivens’s advocacy documentary for the Republican cause intercuts a besieged Madrid with a nearby village digging an irrigation canal, linking the war to bread, land, and survival. Produced by the writers’ collective Contemporary Historians, edited by Helen van Dongen, scored by Marc Blitzstein, and narrated in its U.S. version by Ernest Hemingway (after an initial Orson Welles track), it blends frontline reportage with persuasion against Franco’s forces and their German–Italian backers.

A poetic industrial short that follows a radio from molten glass to finished set: glassblowers shape valves, conveyors and assembly lines build chassis, cabinets, and speakers, engineers test and prototype—ending on a playful stop-motion “dance” of loudspeakers.

It is an autobiographical fiction starring Ivens as an old man who has spent his life trying to "tame the wind and harness the sea" by capturing them on film.

Henri Storck and Joris Ivens’ landmark of social documentary, blending staged scenes with locals and on-the-spot reportage to depict the 1932 miners’ strike in Belgium’s Borinage—evictions, hunger, and police repression—transforming outrage into a call for solidarity.