The essay by René Vautier, "Déjà le sang de Mai ensemençait Novembre", starts with the recapitulation of the representations of Algeria throughout the history of visual arts in France in an effort to explore the causes for the quest for independence.

This excellent feature-length documentary - the story of the imperialist colonization of Africa - is a film about death. Its most shocking sequences derive from the captured French film archives in Algeria containing - unbelievably - masses of French-shot documentary footage of their tortures, massacres and executions of Algerians. The real death of children, passers-by, resistance fighters, one after the other, becomes unbearable. Rather than be blatant propaganda, the film convinces entirely by its visual evidence, constituting an object lesson for revolutionary cinema.

Short documentary commissioned by the magazine Présence Africaine. From the question "Why is the African in the anthropology museum while Greek or Egyptian art are in the Louvre?", the directors expose and criticize the lack of consideration for African art. The film was censored in France for eight years because of its anti-colonial perspective.

If Only I Were That Warrior is a feature documentary film focusing on the Italian occupation of Ethiopia in 1935. Following the recent construction of a monument dedicated to Fascist general Rodolfo Graziani, the film addresses the unpunished war crimes he and others committed in the name of Mussolini’s imperial ambitions. The stories of three characters, filmed in present day Ethiopia, Italy and the United States, take the audience on a journey through the living memories and the tangible remains of the Italian occupation of Ethiopia — a journey that crosses generations and continents to today, where this often overlooked legacy still ties the fates of two nations and their people.

Germans colonized the land of Namibia, in southern Africa, during a brief period of time, from 1840 to the end of the World War I. The story of the so-called German South West Africa (1884-1915) is hideous; a hidden and silenced account of looting and genocide.

Carrie Davis was part of the child removal system near the end of the Sixties Scoop. With guidance from her uncle Emmett Sack and the community, Carrie reconnects to their land, language, and culture.

Accompany a couple on their visit to a local wildlife park.

The future Edward VIII enjoys a stately procession and visits the Taj Mahal before meeting senior Indian royalty.

The future Edward VIII visits his Empire, with Indian royalty, elephants, palaces and temples.

The future Edward VIII enjoys receptions, playing polo and hunting tigers on his royal tour.

The future Edward VIII enjoys stunning mountain scenery on a visit to the Khyber Pass during his royal tour

Amateur film of the passage to India - complete with guest appearance by Gandhi.

The life of the people of the Naga Hills, Assam, including sports activities and tribal ceremonies, presented within a fictional framework.

Scenes at a garden party given by Earl Lytton, Governor of Bengal, at Government House, Calcutta.

Educational film about Cyprus - landscape, people, work, traditions etc.

For hundreds of years, Taiwan has been under different colonial rules. From the Dutch, the Spanish, the Japanese, and nowadays Republic of China, each regime left their footprints on this island. Only the indigenous people of this island experienced of the process. They were given different names during different periods of colonisation and their cultures have been changed. Through the life of a Truku elder, we see the history of aboriginal recertification movement.

Returning to the island that her father left 50 years earlier, the filmmaker goes back in time to retrace the history of her name.

«My grandma had a great strength and love for life which made me believe that some of us were able to become immortals and escape death. When she passed at the age of 92, her death was a surprise to me, which I was not prepared for. The cinema has the immense power of creating the illusion of life and its protection. This film is my attempt to rescue my grandma from death. It is not a documentary about my grandma but a film with my grandma. I wanted to film a ghost and then return it to the realm of the living, like Orfeu tried with Eurídice. It is a route to resurrection. It is my way of giving her immortality which I deem to be her right.»

An european artist writes about his experience in portraying life in Brazil during the colonial period. Aporteiro – concierge and security guard in one – watches the surveillance cameras in a residential building, while reflecting on his profession and the relationship with his employers. Between the exotic idyll of front yards and deterrent technology, his task is to establish security and normality. Brazil’s troubled past and complicated present come together in this highly charged film.

For nine months in 1930, seven Bretons, lobster fishermen, were "forgotten" on a volcanic island by their employers, Normans from Le Havre, heirs of the last French whalers. Four employees would die on the spot. Their descendants today revive the memory of this human tragedy which also struck 42 Madagascans. Starting from a sordid social conflict, the documentary shows that the “Forgotten Saint Paul” mark the end of an era of “colonization”, a term rarely used for the French Southern Territories, but nevertheless close to reality. This is the story of the Third World, as its discoverer, Yves de Kerguelen, named it.