The Veterans of Foreign Wars as a fraternal and social organization, with emphasis on their projects that benefit community life and cohesion.

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrospective exhibit in 1969. There were heated discussions on whether it would be prudent to screen the film during the exhibit. Portabella took the following stance: "either both films are screened or they don't screen any" and, finally, both Miro l'Altre and Aidez l'Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series "Barcelona" (1939-1944). The film ends with the painter's "pochoir" known as Aidez l'Espagne.

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The architectural plans for Berlin from 1938 are used as an example to illustrate the fascist claim to power and its aesthetic effect. The basis for this was the "General Building Inspection" under the direction of Albert Speer, whose enormous projects are illustrated by planning models and archive photographs.

At underground film of the 1st Popular Festival of Catalan Poetry filmed in the Proce Theater in Barcelona on May 25, 1970, in solidarity with political prisoners. The participating poets were: Agustí Bartra, Joan Oliver (Pere IV), Salvador Espriu, Joan Brossa, Francesc Vallverdú and Gabriel Ferrater.

A fist-person story of the director of the documentary, who talks about the loneliness that entails living with an eating disorder and her vision now thar she is entering into adulthood.

In the late 1980s, Tim Duffy, a penniless North Carolina musicology student, became deeply involved in Winston-Salem's drinkhouse music scene, an off-the-grid hotbed of gritty traditional blues. He began the foundation after observing and living with the deep poverty of the Southern blues artists he befriended and championed.The foundation now helps hundreds of older Southern musicians with everything from financial assistance to tour support. The film travels back to the early artists that were the inspiration for Music Maker, and forward to the current artists carrying on the Southern roots tradition. The film features performances, archival and contemporary, of Music Maker artists on tour and in the studio, as well as interviews with the artists and Duffy on the foundation, music and the blues.

An isolated village in the Lithuanian countryside. Seated in her house, an elderly woman recites an old folk story. Then she climbs up the tall ladder that takes her to the rooftop of the church.

Elem Klimov's tribute to his late wife, director Larisa Shepitko, killed in a car accident a year earlier. Features excerpts from all of her films, and archival audio of her discussing life and art.

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

David Olusoga opens secret government files to show how the Windrush scandal and the ‘hostile environment’ for black British immigrants has been 70 years in the making.

Delphine Seyrig reads passages from a Valerie Solanas’s SCUM manifesto.