Ferit who works as a reporter on a newspaper, makes fake news about the olive oil king Hulusi. One day he writes that he adds machine oils to his oils, another day he writes that his daughter Alev hangs up with men and prints her photos. Actually the married man seen in the photos is Alev's cousin.

Looping, chugging and barreling by, the trains in Benning's latest monumental film map a stunning topography and a history of American development. RR comes three decades after Benning and Bette Gordon made The United States of America (1975), a cinematic journey along the country’s interstates that is keenly aware “of superhighways and railroad tracks as American public symbols.” A political essay responding to the economic histories of trains as instruments in a culture of hyper-consumption, RR articulates its concern most explicitly when Eisenhower's military-industrial complex speech is heard as a mile long coal train passes through eastern Wyoming. Benning spent two and a half years collecting two hundred and sixteen shots of trains, forty-three of which appear in RR. The locomotives' varying colors, speeds, vectors, and reverberations are charged with visual thrills, romance and a nostalgia heightened by Benning's declaration that this will be his last work in 16mm film.

Milagros is a bear who, after experiencing many adventures, decides to fulfil her destiny: preserving her species and telling her story to raise awareness about wildlife conservation.

Everybody's gotta have it all!

Paris By Night 85: Xuân Trong Kỷ Niệm (English Translation: A Spring of Memories) is a Paris By Night program that was filmed at Studio 40 at the Canadian Broadcasting Centre on Saturday, October 21, 2006 and is released to a 2-disc DVD format on Thursday, January 25, 2007, just in time for the Lunar New Year celebrations. It is Thuy Nga's third consecutive Lunar New Year celebrational Paris By Night program for three years.

Ada, an 8-year-old girl, longs to remember her late grandmother Totó's voice and finds solace in her spiritual presence in the family home, where she discovers she can hear her in a different way.

The parallel stories of two couples in crises and their connections to a drowned woman found in a river.

In 1986, the Uruguayan Parliament passed a law granting amnesty for all crimes and human rights violations committed by the military and police during the dictatorship (1973-85). This law of impunity prevented the clarification demanded by the relatives of those who had disappeared and been murdered by the former regime. A public initiative arose calling for a referendum in which the law be subject to the vote of the people. Unas preguntas uses U-matic footage, mostly of interviews recorded on the streets of Uruguay between 1987 and 1989, to present a time capsule of the period.

Don Poli, the patriarch of a family embedded in politics, faces the change of party in his state - after a hundred years in power - losing all his privileges. Humiliated and angry, he threatens to disinherit his family and leave to rebuild his life. This forces his children (Kippy, Ramses and Belén) to take extreme measures to ensure their future, causing everything that could go wrong to turn out worse.

Directed by Jacques Feyder.

Don Salvatore Anastasia, a priest in a seminary in Tropea, Calabria (Italy), gets a ticket to visit his brother in New York. He has never known him, because the brother emigrated illegally in the U.S.A. years before. Upon his arrival in America, he is greeted with much respect, as well as his brother, also from the Italian-American community of Little Italy. Enthusiastic of that, he decided to stay on as assistant pastor in the church of Saint Lucia and bring it to a new shine. Accompanied in New York, his last name, Anastasia, commands respect and, above all, opens the door hitherto locked: his brother, really, is the infamous mob boss Albert Anastasia.

".......unafraid that anyone would hear him he sobbed unreservedly till tears ran down his cheeks and dropped to the water that lapped at his feet. When he was finished he heard a voice in the darkness say “Salt water is the cure for everything”. He jumped up clutching the bag in his hand for a fear had taken over him, “who’s there? He said “are you in the water? I can’t see your face the moon is behind you?” The most beautiful woman he’d ever seen emerged from the rocks just to his right ……" Saltwater, it's either sweat, tears or the sea.." This short film is a new telling of an old story, a contemporary exploration of the Irish folkloric figure of the selkie.

Dylan, a young man with a beautiful and carefree life, runs, along with his best friend Mike, the "Break-Up Club", a private club that offers assistance to help cope with the breakup. Things are going well until Zoë, a journalist and former employee of the club, starts writing a compromising article about the "Break-Up Club".

Buenos Aires is a complex, chaotic city. It has European style and a Latin American heart. It has oscillated between dictatorship and democracy for over a century, and its citizens have faced brutal oppression and economic disaster. Throughout all this, successive generations of activists and artists have taken to the streets of this city to express themselves through art. This has given the walls a powerful and symbolic role: they have become the city’s voice. This tradition of expression in public space, of art and activism interweaving, has made the streets of Buenos Aires into a riot of colour and communication, giving the world a lesson in how to make resistance beautiful.