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200 km follows the marches carried out by Sintel workers to reach Madrid on May 1, 2002. Sintel was a subsidiary of Telefónica that, when it was privatized, was closed, leaving its 1,800 workers on the streets. One year after setting up the "Camp of Hope" with which they occupied Madrid's Avenida de la Castellana for months, and with the promises they were made unfulfilled, Sintel workers began a 10-day, 200-km march to Madrid to claim your job. Premiered on San Sebastian Film Festival 2003.

An explosion in one of the largest chemical plants in Europe, the Petrochemical complex in Tarragona, triggers the labour struggle of a group of workers who demand what is fair for everyone.

Sylvie Vartan has had an extraordinary life: a Bulgarian child forced into exile, who became the icon of a youth in the midst of revolution in France. After a career spanning 64 years, with nearly 50 albums recorded and 40 million records sold, she has decided to bow out. During her farewell tour, the singer chose to open up to Augustin Trapenard.

A documentary that brings together interviews with 20 activists who address the issue of intersectional feminism and patriarchy in Portugal.

Through testimonies and images, the crude reality of human rights in Argentina in democracy is portrayed and the role of the hegemonic means of communication to make causes and protests invisible ...

Nimrod Workman won a National Heritage Award for his original songs, but in the film that shares his name, he often breaks into impromptu performances of traditional ballads, dances, and delivers monologues that are just as superlative. Born in 1895, Workman provided for a family of thirteen by working in the coal mines of West Virginia, and he reminisces about his experience with union organizing in the 1920s and 30s with anecdotes that match many of the experiences of miners of later years, too. To Fit My Own Category is an extended visit at his home as Workman and his family prepare meals, build an addition to the house, dig for yellow root, swap jokes with the neighbors, and enjoy each other’s company.

The bleached palette and home-movie aesthetics of Super 8 footage provide the image track for this testimonial about an illegal abortion in Mexico City in the 1960s, delivered in voiceover by the filmmaker’s mother. In its account of this intimate and disorienting memory, Lesser Choices summons a time of profound uncertainty—a moment from an era without rights—and offers a warning to the present.

A documentary analyzing the social, political and cultural climate of Hollywood in the mid-1960s.

Pier Paolo Pasolini sets out to interview Italians about sex, apparently their least favorite thing to talk about in public: he asks children if they know where babies come from; asks old and young women if they support gender equality; asks both sexes if a woman's virginity still matters, what do they think of homosexuality, if divorce should be legal, or if they support the recent abolition of brothels. He interviews blue-collar workers, intellectuals, college students, rural farmers, the bourgeoisie, and every other kind of people, painting a vivid portrait of a rapidly-industrializing Italy, hanging between modernity and tradition — toward both of which Pasolini shows equal distrust.

Two unhoused men turned community leaders— John and LaMonté —organize their neighbors in the face of displacement, addiction, and a failing social system.

Cruelty, psychological and sexual violence, humiliations: reality television seems to have gone mad. His debut in the early 2000s inaugurated a new era in the history of the audio-visual. Fifty years of archives trace the evolution of entertainment: how the staging of intimacy during the 80s opened new territories, how the privatization of the biggest channels has changed the relationship with the spectator. With the contribution of specialists, including philosopher Bernard Stiegler, this documentary demonstrates how emotion has made way for the exacerbation of the most destructive impulses.