'Togo' es la historia real no contada ambientada en el invierno de 1925 de un periplo por el terreno traicionero de la tundra de Alaska en busca de una aventura emocionante que pondrá a prueba la fuerza, el coraje y la determinación de un hombre, Leonhard Seppala, y de su perro de trineo guía, Togo.

Los narcos de poca monta están copando las calles de Montevideo y extorsionando a los cuidacoches para que trabajen para ellos. Pero uno, Togo, resistirá hasta las últimas consecuencias para cuidar su territorio y a los vecinos de la violencia.

Following in the footsteps of the Hamburg film director Hans Schomburgk who travelled through the German colony of Togo from Lomé to the north with his companion and actress Meg Gehrts in 1913, Jürgen Ellinghaus screens the footage shot then at its locations in modern-day Togo. Schomburgk’s affirmative images show slave labour, humiliation and the arrogance of the colonial power. The material is contrasted by Gehrts’ romanticising diary entries and other colonial reports which often testify to a horrifying coldness.

CAFÉ TOGO looks at the efforts to change street names with colonial connotations in the so-called Afrikanisches Viertel (African Quarter) in Berlin-Wedding. According to Berlin’s street law, every street named after a person honors that person. Petersallee, Lüderitzstraße, and Nachtigalplatz bear the names of persons whose biographies are tainted by the blood of the victims of German colonialism. According to the law, streets that do not correspond to today’s understanding of democracy and human rights should be renamed.

Each fall, 50 girls meet up at rock camp in Togo. They play and sing gospel music, which they know from church, and dance to African rap and pop. A five-day rock camp with teenage girls who still dream.

From 1884 to 1914, a small belt of land between the British Gold Coast Colony and French-governed Dahomey was part of the German overseas empire in Africa. "Togoland", the later Togo and the eastern part of today's Ghana, experienced the first German capitulation in the early days of WWI. European rule left its marks on people's minds, even more than a century after the forced pull-out of one of the major European players in the competitive "great colonial game" and more than half a century after the African Independences. Lomé - Adibo - Yendi - Kamina - Wahala: present-day glimpses of a journey into the past.

A comical opera for children and adults about the absence of a nail that almost caused a World catastrophe. The film is based on English folk poetry translated by S.Marshak.

A German politican visits German colony Togo.

Major communal ceremonies for purification, exaltation of the forces of life and deliverance from hostile powers marking the very intense religious life of the Kabre, a mountain people in northern Togo.

This ethnographic film is dedicated to the rituals and ceremonies of Gorovodu religion in West Africa. A medicine and healing sect practiced by Ewe peoples in Ghana and Togo, Gorovodu is embedded in every day life. Through visual explorations of ritual drumming and spirit possession, this film offers a guide to the complexity and humanity of religion in West Africa.

In Togo among Kabye people, trials by fire ordeal happen among truth masters in order to settle witchcraft cases which cannot be judged by usual men. This film shows two cases.

Durante el octubre de 1994, tres estudiantes de cine en el Montgomery College, Heather Donahue, Joshua Leonard y Michael Williams realizaron la propuesta de crear un proyecto para presentarla en la clase de cine, el proyecto llamado por Heather "El Proyecto de la Bruja de Blair" contaba de entrevistas con los residentes del pueblo de Burkittsville, Maryland, sobre la bruja local.

Original video film.

En 1925, un grupo de corredores de carreras de trineos viajan más de 1.000 kilómetros para salvar a los niños de Nome, Alaska, de una epidemia mortal.

The Mamleev family portrait, set in the cramped interior of a small Moscow flat, is an experiment in metaphysical documentary making. Yury Mamleev, the great writer of the Russian chthonic, plays with a cat while his wife, the translator Maria Mamleeva, flips through a photo album from their émigré years in Paris and America. But something eerie seeps into these scenes of simple comfort, vaguely manifesting itself in the elliptical editing and the soundtrack’s unsettling, abstract humming.