Take a journey through the ever-changing landscape of artificial intelligence with this doc exploring the challenges and opportunities ahead.

Here and Elsewhere takes its name from the contrasting footage it shows of the fedayeen and of a French family watching television at home. Originally shot by the Dziga Vertov Group as a film on Palestinian freedom fighters, Godard later reworked the material alongside Anne-Marie Miéville.

Mustafa Kemal Atatürk (1881-1938) was a Turkish field marshal, revolutionary statesman, author, and the founding father of the Republic of Turkey, serving as its first president from 1923 until his death in 1938.

Street art, creativity and revolution collide in this beautifully shot film about art’s ability to create change. The story opens on the politically charged Thailand/Burma border at the first school teaching street art as a form of non-violent struggle. The film follows two young girls (Romi & Yi-Yi) who have escaped 50 years of civil war in Burma to pursue an arts education in Thailand. Under the threat of imprisonment and torture, the girls use spray paint and stencils to create images in public spaces to let people know the truth behind Burma's transition toward "artificial democracy." Eighty-two hundred miles away, artist Shepard Fairey is painting a 30’ mural of a Burmese monk for the same reasons and in support of the students' struggle in Burma. As these stories are inter-cut, the film connects these seemingly unrelated characters around the concept of using art as a weapon for change.

October 2014. Ouagadougou, the capital of Burkina Faso, is the scene of an unarmed uprising that ousts the dictator in power since 1987 and later staves off an attempted coup. In 2015, the country votes freely for the first time in its history, yet real change remains allusive, especially regarding ongoing economic exploitation by foreign companies. In one year of struggle and resistance, the film follows the daily life of four Burkinabes: a musician and leader of the revolution, a local political candidate, a miner engaged in the labor movement, and an impoverished mother, all sharing hopes that the elections will change the country’s path.

Set during the Lebanese revolution, WE NEVER LEFT portrays a heart-wrenching duality between Beirut and New York, an impassioned testament to the Lebanese diaspora’s unrequited but irrepressible love for their homeland.

October 1st, 1957. Dusk descends on Tiananmen Square, Peking. Fireworks crackle light across the night sky, above a city alive with National Day festivities and celebrations. Two intrepid New Zealand film-makers - Rudall and Ramai Te Miha Hayward - are there, documenting the life and times of communist China. The distinction of being the first English speaking foreigners to film unfettered in communist China was significant. The invitation to visit China was facilitated through the New Zealand China Friendship Society. They filmed in Canton, Shanghai, Peking (Beijing) and Wuhan. It was a small window of opportunity for Westerners to gaze on a country that was largely a mystery to the outside world since 1949. The unfortunate irony was that two of the documentaries; “Wonders of China”, and “Inside Red China”, were considered to be communist propaganda, and were not distributed outside of New Zealand.

In 1979, a revolution in Iran. In 1980, a revolution in Poland. The fall of the Shah, the “King of Kings,” in Iran. Mass strikes and the foundation of Solidarność (Solidarity) in Poland. What was in the minds of the young women and men who fomented revolution in their own country? What did they think when their revolution was quelled, or – as in Iran – an authoritarian regime was instituted under the name of an “Islamic Republic”?

Hurricane María abated, the news crews packed up and left Puerto Rico, and the interest of the international community turned elsewhere. What happened next?

What does the violent heart of revolution feel like? As the anger and hatred glow white hot is there a language its players use to speak to one another? And what becomes of the gun toting authorities when their fiefdom is destroyed, nobody is any longer afraid, and all things are ablaze? Just some of the questions addressed in this visceral documentary from Maidan square in the violent Ukrainian winter of 2013-14.

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Following the Revolution of April 25, 1974, the walls of the city of Lisbon became a means of celebrating and transmitting revolutionary ideals and slogans. The text by painter António Domingues praises this plastic work initiated by the Plastic Artists Cell of the Portuguese Communist Party.