Oscar nominated "Making of" documentary about Peckinpah's The Wild Bunch.

From 1972 until 1974, Joris Ivens and Marceline Loridan, along with a Chinese film crew, documented the last days of the Cultural Revolution, marking the end of an era. The vast amount of footage they shot was edited into 14 films of varying lengths. Focusing on ordinary people spread over a wide geographic area—many of whom were living and working in collectives—the filmmakers recorded a unique moment in history, and also captured some of the more enduring aspects of Chinese culture.

Documentary about the strikes that took place in São Bernardo do Campo, in the State of São Paulo, Brazil, circa 1979/1980. That moment was of utmost importance, since it revealed a Union leader, Luís Inácio "Lula" da Silva, who would later become President of Brazil. It was also the moment when PT, the Workers' Party, became a relevant political force in Brazil.

Serge (Stevenin) is a dweller in the French provinces who happens upon Georges (Jacques Villeret), a Parisian motorist in distress. Serge arranges for the car to be taken to a nearby garage. Georges' friends, who were with him in the car, have continued their journeys. Because of that, Serge takes Georges under his wings while he waits for his car to be repaired, and they tour the countryside and party with the local revelers. Nothing much is said between them, but it is clear that they have become friends

A young botanist, an Englishwoman and her daughter are prisoners of a group of bandits operating in the mountains of Albania. A ransom is demanded. The capture of the gang leader's daughter, however, brings the situation to a happy conclusion.

Set in Italy at the end of World War II, the film tells the life of three sisters in a small mountain village, their metamorphosis and their growth after the arrival of a soldier.

JEMINA, THE MOUTAIN GIRL is playing with various elements : literary sterotypes of the F.Scott Fitzgerald novel, inflamed romantism of a Viennese waltz, idealized feminine beauty through lengthy shots, some white and some black, burst of color, intrusion of rose, and green. The film is mocking classic hollywood cinema and undertake the fundamental discontinuity of every film, of every filmic text. Pleasure of the text, pleasure of cinema.

On November 1, 1954, the National Liberation Front of Algeria announced the war for the country's independence. France, colonizer since 1830, hastened to reinforce its military contingent in the four corners of the country and to prevent the advance of the rebels. A little Chaoui, born in a mountainous region of the country, sees his placid childhood collapse in the middle of a crossfire that he does not understand. The story, inspired by real testimonies, is constructed with images from the archives of the French army. From this apparently dissociated dialogue between image and word arises a sensitive homage to the memory that rests in the archives and to the ignored voice of its protagonists.

Two feuding houses are united with the marriage and eventual death of their children.

By chance, a band of merry friends is getting in command of a thalasso therapy center.

[Vorkapich Montage Sequences] (1928-1934) are clips from Hollywood feature films designed by Slavko Vorkapich: sequences from Manhattan Cocktail (1928), The Wolf of Wall Street (1929), Sins of the Fathers (1928), and the Furies sequence from Crime Without Passion (1934).

Early water rollercoaster-type ride.