Album 61

Follows members of the Zulu Club, New Orleans’ first Black Mardi Gras, as they work to bring the Zulu parade back to the streets for Mardi Gras Day 2022, in the face of a global pandemic, hurricane Ida and the loss of members due to COVID and gun violence.

As Israeli society slips into extremism, an Arab actor and a Jewish journalist search for a place where they can belong.

When, in the late 1990s, Israeli student Teddy Katz exposed the massacre of Palestinian civilians by Israeli forces in the village of Tantura, in May 1948, during the first Arab-Israeli war, he was initially praised for his pioneering work; but he was soon infamous and branded a traitor. Decades later, incendiary new evidence emerges that corroborates Teddy's findings.

Using never-seen-before interrogation footage, this investigation of Benjamin Netanyahu and his inner circle provides an unflinching gaze into the private world behind the headlines. Petty vanity and a sense of entitlement lead to corruption and the Netanyahus' unwillingness to give up power. The extreme right senses opportunity in Bibi's weakness, and the dominos fall.

From 1977 to his untimely death in 1993, Amos Guttman directed six films, all of them deeply personal reflections of his own life. Interviews with lovers, family and friends--including some of the most important people in Israeli cinema--tell the gripping story of a strikingly handsome, charismatic and deeply passionate gay man who has become a revered cult figure in Israeli cinema.Interviews with the late filmmaker and fascinating footage of him on the set convey the same passion that comes through in scenes from his films, lovingly selected by documentarian Ran Kotzer. Like Fellini, Guttman transformed his dreams and everyday conversations with friends and family into integral parts of his pictures. He is most remarkable for his striking and original use of the frame. Every shot is a treasure. Amos Guttman dared to portray subjects that were taboo in his society, and his search for the right of individual expression is the connecting link of his works.

In Santiago de Cuba, rival conga bands scour the sparse marketplace for materials to create show-stopping numbers for the annual Carnival competition. O’Reilly’s film follows young, innovative Lázaro, who is determined to beat “the Shark,” his older and more establishment-favored competitor. Tensions build and tempers flare as the government restrictions and scarcity of present-day Cuba come to bear on one of the world’s poorest Carnivals.

Twenty years after shooting the film Souvenirs, Shahar lives in Amsterdam, raising two Dutch-Yemeni children, just like the grandchildren his late father had longed for. He runs the best falafel food truck in town, employing refugees from all over the world. His son Salie, is a 14-year-old adolescent with a sharp tongue and plenty of criticism. Embarrassed by Shahar’s market job, he wants his father to open a respectable restaurant. Shahar dreams of a restaurant too, but cares more about the refugees he would need to let go. The solution comes from Salie, who starts to grasp what truly matters in life.

Shahar is an unemployed filmmaker. His father, Sleiman, suggests that Shahar make a film about the Jewish Brigade, in which he served during WWII. Shahar becomes enthusiastic after discovering that his father may have impregnated two Dutch women while abroad and decides to make the film hoping to find his father’s lost offspring. Together they set out along the trail of the Jewish Brigade, beginning in Israel, through Italy and Germany, and ending in the Netherlands with a surprising discovery.