Images from the Iranian Ayatollah Ali Khamenei’s own website are skillfully edited into a new context; the desperate dictator takes refuge as protests swell outside.

Showing no emotion, in a minimalist setting, two actors deliver the shocking testimonies of perpetrators, merging the genocides of recent history. These are monologues from the darkest recesses of human nature.

Filmmaker Fiona Tan’s Indonesian-Chinese father comes to life in his letters, as do the Dutch people she discovered in fascinating archive material from more than a hundred years ago. A soulful exploration of time, history and identity.

Almost all films are preceded by a disclaimer. There is a deeply embedded fear of being misunderstood—and all the attendant legal consequences. But these attempts at self-protection undermine the essence of film as a limitless imagination machine.

An energized montage of archive footage that breaks with narrow-mindedness to celebrate life and queer love. The spoken word performance dances to the rhythm of freedom in a funky cinematic tribute to Eros.

A moving and layered reflection on the complex reality of Iranian women, in which space for personal freedom and desires only exists behind closed doors, and in the imagination.

This poetic evocation portrays the experiences of the filmmaker and his family as Filipino immigrants to America who later become American immigrants in the Philippines. A dreamlike portrait of a quest to find a place to put down roots.

Every morning, a young man reads from the Tibetan Book of the Dead to an older woman, in this unique film about life, death and rebirth. A film set in Laos, Tanzania, and in the viewer’s mind—and soul.

In a film that is part travelogue, part psychological self-examination and part cinematic noise rock show, Joshua Gen Solondz reflects on topics such as aging, rootlessness, lust, love and art. The result is as idiosyncratic as it is overwhelming.