In suburban Buenos Aires, thirty unemployed ceramics workers walk into their idle factory, roll out sleeping mats and refuse to leave. All they want is to re-start the silent machines. But this simple act - the take - has the power to turn the globalization debate on its head. Armed only with slingshots and an abiding faith in shop-floor democracy, the workers face off against the bosses, bankers and a whole system that sees their beloved factories as nothing more than scrap metal for sale.

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The film focuses on Ernesto Rossi (1897 – 1967), who was imprisoned by the fascist regime between 1930 and 1943 for his political ideas. Exiled on the island of Ventotene, he co-authored the Ventotene manifesto.

The Name of this Film is Dogme95 is an irreverent documentary exploring the origins of Dogme95, the most influential movement in world cinema for a generation. The film tells how a 'brotherhood' of four Danish directors armed with a radical Manifesto, has inspired, outraged and provoked filmmakers and filmgoers the world over. The rules of Dogme95 take filmmaking back to its brass-tacks - stories must be set in the here and now; the films must be shot on location, with a handheld camera, using natural light, and direct sound; the rules forbid murders and weapons (staples of the much-loved action-movie genre); and, most amusingly, the director must not be credited (that holds also for the director of The Name of this Film is Dogme95...).

A murder in 1944 draws together the great poets of the beat generation: Allen Ginsberg, Jack Kerouac and William Burroughs.

An edited version of Rosefeldt's installation work of the same name, Manifesto is an outstanding tribute to various (art) manifestos of the nineteenth and twentieth century, ranging from Communism to Dogme, in connection with thirteen different characters, including a homeless man, a factory worker and a corporate CEO, who are all played by Cate Blanchett. A striking humorous audio-visual experience.

Directed and written by Aurora Jamelo and Sophia William, “Incendiárias” compiles scenes of trans women and transvestites performing in public spaces in Pernambuco. The images sometimes tune in to these women's dreams and desires, their roots and truths; sometimes they denounce fears, frustrations and aggressions experienced daily - a provocation and, at the same time, a manifesto for the existence of this population.

A story of diaspora. The film criticises the myth of Swiss neutrality, which violently masks structural, systemic, and social passivity.

While taking a walk, Chico Bento, a boor living in the backwoods of Brazil, tells his friend Zé Lelé and girlfriend Rosinha some fantastic stories happened to him: he'd been turned into a frog, been attacked by ants and by an animal resembling a jaguar, and some other doubtful cases.

Simmons, best-known for her photographs of miniature rooms populated by dolls and of oversized objects—such as a house, birthday cake, and pistol—balanced on female legs, both human and fake, brings these characters to life in a three-act mini-musical. The film is inspired by three distinct periods of Simmons’s photographic work: vintage hand puppets, ventriloquist dummies and walking objects enact tales of ambition, disappointment, love, loss, and regret. Working with composer Michael Rohaytn ("Personal Velocity") and cameraman Ed Lachman ("The Virgin Suicides" and "Far From Heaven"), Simmons’s puppets come to life in miniature domestic scenes that echo real life.

A group of geologists are in a prospecting expedition. Their personalities are explored as well.

Careless detective Paul White and the careful Yuji Sato meet a beautiful girl who needs their help. Emma has a big secret of her own and the unsuspecting detectives get into a dangerous conspiracy of her making.