20여 년 전 북한을 탈출한 이현서의 충격적 증언. 북한에 남겨 두고 온 아들을 어떻게 든 데리고 오려는 탈북한 엄마 이소연. 어린 자매부터 할머니까지 목숨을 걸고 국경을 넘어 탈출하려는 5명의 일가족. 낙원이라 믿었던 땅을 떠나 자유를 향한 이들의 탈출을 헌신적으로 돕는 김성은 목사. 거짓의 유토피아 북한에서 자행되고 있는 인권의 실태를 보여주며 충격과 분노를, 낙원이라고 믿고 자란 땅을 탈출하려는 이들의 위험한 여정과 탈출을 위한 김성은 목사의 용감한 헌신을 생생하게 담아내 안타까움과 감동을 선사하는 다큐멘터리.
Marianne Jannetier, a well-to-do Parisian, engaged to Andre Benoit, a high-ranking government official, flees the city when the goose-stepping Nazi storm-troopers arrive. When her mother dies on the road to Bordeaux as a result of Nazi bombing, she returns to Paris and joins the underground movement. Nicholas Jordan, an American member of the RAF, stranded in Paris after the evacuation is also working with the Paris underground. Marianne kills her former fiancée, a pro-Nazi informant, for the traitorous state papers he is carrying, and she and Jordan try to flee over a French seaport...
A reluctant leader heads up a team of seven Christians intent on smuggling Bibles to underground churches in a future America where the Bible is illegal and danger is around every corner.
The desire for freedom during the period of “normalisation” in Czechoslovakia led to the creation of a group of individuals who professed a deep inclination towards the principles of the underground movement. After many years they are unable to face their mutual suspicions of betrayal in the form of cooperation with the state-security police. The memory of their tragically departed guru, philosopher and poet, Marcel Strýko, drifts throughout their story. In an effort to come to terms with the past, an old companion from Prague organises a revival concert in a Gothic cathedral. Will these freethinking members manage to achieve a truce?
What is Bangla kalpavigyan? Is there such a thing as Bangla Science Fiction? Is there such a thing as Indian SF? This is our journey with the genre, captured and presented like never before in film. Beginning with the early work of writers such as Rokeya Sakhawat Hussain (Begum Rokeya) and the speculative mode in Bengal, and ending with the pioneering webzine Kalpabiswa, the film traces the historical arc of kalpavigyan over a century of the genre. From the genre magazines of the 1960s-80s and the writers and editors who ignited the movement by giving it shape and form, the film presents a series of conversations and critical reflections from researchers and scholars who have worked with the genre both in relation to Bengal and kalpavigyan as well as the wider phenomenon of SF.