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Roland Emmerich himself and many of his companions provide insights into his life. With films such as Independence Day, 2012, and The Day After Tomorrow, he probably became the most successful director of disaster movies. But there were also failures.

In Adios Amor, the discovery of lost photographs sparks the search for a hero that history forgot—Maria Moreno, a migrant mother driven to speak out by her twelve children’s hunger. Years before Cesar Chavez and Dolores Huerta launched the United Farm Workers, Maria picked up the only weapon she had—her voice—and became an outspoken leader in an era when women were relegated to the background. The first farm worker woman in America to be hired as a union organizer, Maria’s story was silenced and her legacy buried—until now.

Follow Billboard charting female fronted metal band Living Dead Girl across North America, in the studio and through all the milestones and struggles that come with surviving as an independent band in one of the most challenging industries

For decades, Washington, DC has been a beacon for Black culture and Go-Go music. Now, a wave of economic and cultural gentrification threatens to erase this history, as displaced communities take to the streets to protest and defend the city’s iconic Go-Go sound.

In the furnace of Algiers, the camera follows and accompanies Ibrahim, Adam, and Ismael, originally from sub-Saharan Africa, in an irregular situation who live in this hotel with the predestined name. They live from odd jobs. One is an elevator operator in a building, the second is a shoemaker and the third works in the construction sector. The other side of immigration from sub-Saharan Africa. Behind the statistics hide people, bodies waiting to be able to start another life elsewhere. A hotel thus becomes a transit point in which stories and hopes mingle, a place which seems suspended in time and space. A static journey waiting for another to begin.

Shot in the aftermath of the 2010 Haiti earthquake, the documentary looks at what really happens with the money donated to help with disaster aid.

Penetrating the oil industry's secretive world, The Great Invisible examines the Deepwater Horizon disaster through the eyes of oil executives, explosion survivors and Gulf Coast residents who were left to pick up the pieces when the world moved on.

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Best known for his work in video, Richard Fung has made the politics of gender, ethnicity, and sexual orientation his central focus. Orientations (1984) deald explicitly with gay issues, sn ambitious study considering racism and cultural self-assertion through art, coupled with stories of individual experiences,

Dance artists Sita Frederick, Ana "Rokafella" Garcia, and Marion Ramirez collaborate to create a performance work that explores Caribbean and Latina-American experiences through dance. OUT OF LA NEGRURA/OUT OF BLACKNESS IN THE BRONX: A CHOREOGRAPHIC COLLABORATION ACROSS DIASPORA features NYC-based dance artists/choreographers: Sita Frederick, Ana "Rokafella" Garcia, and Marion Ramirez. This documentary reveals how the artists collaborated to create a new performance work that explored Caribbean and Latina-American experiences through dance. This film showcases the rich and diverse dance backgrounds of the Latinx performers as they mix salsa, breaking, Afro-Caribbean, and release techniques in one experimental dance piece. With footage from performances at Pregones Theatre, this documentary was made by PEPATIÁN, a South Bronx-based organization dedicated to creating, producing and supporting contemporary multi-disciplinary art by Latinx and Bronx-based artists.

Broadcast from 1977 to 1987 on FR3, every Sunday morning, for 1h30, Mosaïque is a variety show with a set where music groups from the countries of origin of immigration perform, and which broadcasts reports on these countries and on immigrants who live in France. When it was created, it aimed to promote the cultures of origin of immigrants, but also to make them better known to the rest of the population. However, the program was never financed by public television which considers that it was aimed at a specific audience and was therefore not part of a public service mission. It received financial support from the Ministry of Labor, through its subsidy to the National Office for the Cultural Promotion of Immigrants, ONPCI (later becoming Information Culture and Immigration, ICEI, in 1977, then Agency for the Development of Intercultural Relations , ADRI). , in 1982).