Meditations on Revolution Part V: Foreign City

Borders (and all the politics attending the drawing of borders) exist to keep some people in (citizenship) and others out. This film is an attempt to capture the presence of people otherwise denied the political right to be at home in some place that is their home, where they have their roots, where they have their being.

Filmed in Rochina, Latin America’s largest shantytown.

From the Other Side is a haunting and minimalist documentary that explores the tragic realities of illegal immigration along the U.S.–Mexico border, focusing on the twin towns of Agua Prieta, Sonora, and Douglas, Arizona. Director Chantal Akerman utilizes her signature long, observational takes and static shots to capture the harsh desert landscape and the architectural starkness of the border wall. Through deeply personal interviews with Mexican migrants and grieving families, contrasted against the high-tech tracking systems and perspectives of white American ranchers, the film highlights how tightened border security forced migrants into increasingly perilous terrain. Ultimately, the documentary serves as a poetic, empathetic, and politically charged meditation on xenophobia, separation, and the human cost of geographic boundaries.

Structured as an improvisational homage to Cuba's endurance and captures the serene rhythm of Havana's contemporary street life

Akerman spends a month in Tel Aviv, in an apartment by the sea, contemplating childhood, family, and her Jewish identity.

Nocturne is a psychological horror film built on the conflicts of a woman tortured by the ambiguity between reality and illusion, dream and desire. The woman has perhaps murdered her lover and is living in an unstable world when he returns to her at night, in her dreams and into her arms, as witness to the subversive violence of nature, corporeality and desire. (PA)

The night of Marseille seen in a different way

Documentation of a book project by artist Arturo Herrera.

Filmmaker Robert Fenz returned to the locations of three classic films made by the pioneering American ethnographic filmmaker Robert Gardner. Dead Birds (1964) was filmed in West Papua, Rivers of Sand (1974) in Ethiopia and Forest of Bliss (1986) in Varanasi, India. Correspondence is an elegy for a kind of imagemaking that is in the process of disappearing.

Shots of streets and subways in New York, Mexico, and San Cristobal de las Casas are intertwined with images of revolutionary figures of the past.

Captures the discipline of a boxer preparing for a fight.