The death of a Burkinabé family’s patriarch and the division of his estate unearths conflict between his heirs and larger questions about inheritance, belonging and the communal customs of West Africa versus Westernized courts.

At the end of the 1960s, Vanesa’s parents fled the Franco-regime’s deep poverty to pursue their dream in the Netherlands. Working their blue-collar jobs for hours and hours, for over 45 years, their purpose was to return to Spain wealthy and comfortable. There, in a house full of Dutch porcelain and shiny gold, they can now finally rest. Vanesa was raised as Dutch, but still feels trapped in their expectant illusion, even with the distance between them. Torn between two homes, she starts to re-examine her past.

People who knew R. perceived her as a happy woman. A woman from Brno in her thirties who moved to Sweden together with her Slovak husband, psychiatrist Ivan. In their new home country, the young couple bought a house and had two children. It seemed that R.’s life would continue in a predictable way. As a distraction from the routine, she chose an unusual hobby. She created a male alter-ego and started writing novels for LGBTQ+ audiences. R. was happy but felt empty on the inside. She could only fill it by living out her true self. Things started speeding up and R. began changing. R. is now Marvin. And Marvin is a man.

Barred from racing for breaking stride, a trotting horse finds a new career as a police officer's mount in Boston.

This is a reconstruction of the daily life of an ordinary family. With kindness and gentle humour, the film reveals the relationship between the older and the younger generation. The original concept of a short film study with authentic characters of the Ravager family grew into a feature-length picture on the border between a documentary and fiction. It was made as an improvisation without a previously approved screenplay in the course of only twenty days.

A real-time portrait of 2020 unfolds as an Asian-American family in Trump’s rural America fights to keep their restaurant and American dream alive in the face of a pandemic, Neo-Nazis, and generational scars from the Cambodian Killing Fields.

The Kitades run a butcher shop in Kaizuka City outside Osaka, raising and slaughtering cattle to sell the meat in their store. The seventh generation of their family's business, they are descendants of the buraku people, a social minority held over from the caste system abolished in the 19th century that is still subject to discrimination. As the Kitades are forced to make the difficult decision to shut down their slaughterhouse, the question posed by the film is whether doing this will also result in the deconstruction of the prejudices imposed on them. Though primarily documenting the process of their work with meticulous detail, Aya Hanabusa also touches on the Kitades' participation in the buraku liberation movement. Hanabusa's heartfelt portrait expands from the story of an old-fashioned family business competing with corporate supermarkets, toward a subtle and sophisticated critique of social exclusion and the persistence of ancient prejudices.

A girl mixes fiction with reality while writing a letter to her grandmother.

An NHS nurse of twenty years reflects on a challenging and strenuous career as time dwindles to her retirement.

Ale left her mother's house at the age of 12 because she felt she did not belong then, now at the age of 20 she lives in constant resilience. Realizing that she is repeating her mother's patterns, she embarks on a reflection of the decision-making power she now has.

First time filmmaker follows his girlfriend and boss chase their dream as musicians. His insecurities flair while struggling to find a story, and begins challenging their flaws, on camera, jeopardizing the film, relationships and careers.

For the Frigons, hunting is a family affair that forges and solidifies the bonds between generations. For many autumns, Louis-Henri has been tracking moose alongside Sasha, his grandson. On the other hand, at the dawn of his 81st birthday, old age reminds him that his career as a hunter is behind him. This year, Louis-Henri will not go hunting and Sasha will go without him for the first time. Goodbye, Hunter offers an intimate look at the moment of the passing of a long family tradition.

"My mother is spending all her time with her dying father. I’m spending all my time filming her. As the end is getting closer, my mother and I start doing the filming more and more together. It becomes our way of dealing with the time we have left." —Marius Dybwad Brandrud

Tips for what to expect when taking a vacation aboard a cruise ship, and how to make the most of the trip.

Cut off from his loved ones due to the strict COVID-19 lockdown at the long-term care facility where he lives, a quadriplegic rabbi is filmed by his daughter while reflecting on love, mortality and longing.

The family enjoys a sunny but windy day on the pier in Clacton-On-Sea.

Harrow’s extraordinary and opulent pageant, and seaside holidays on the south coast.

In moving interviews, four fathers describe their suffering and efforts to keep contact with their children. A mother justifies the refusal of contact from her point of view. Despite the seriousness of the topic, the film manages to remain entertaining and even delivers an amusing snapshot of German sensitivities and the state of the Republic.

Angels Gather Here’ follows Jacki Trapman’s journey back to her hometown of Brewarrina to celebrate her parents, Bill and Barbara’s 60th Wedding Anniversary.
 Going home is never easy for Jacki. Amidst the family celebrations she reflects on her life; her story symbolising the strength, dignity and resilience of many Aboriginal people in the face of adversity.