Behind The Swoosh

It is the 27th anniversary of Thomas Sankara's assassination. Children busy themselves in the piles of rubble, buffeted by the wind... They walk tirelessly in search of plastic bags, which they exchange with adults for a small wage. Once their work is done, they can become children again, laughing and playing, before another hard day's work begins.

This portrayal of the rhythm of life and work in a gigantic textile factory in Gujarat, India, moves through the corridors and bowels of the enormously disorienting structure—taking the viewer on a journey of dehumanizing physical labor and intense hardship.

A nine-year-old Syrian refugee girl contemplates her increasingly bleak future after being forced to drop out of school in the midst of Lebanon’s unprecedented economic collapse and battle with Covid-19.

Pouvoir Oublier is a political documentary first constructed from the words of the speakers whose lives changed on the tragic day of May 10, 1972 in Sept-Îles. Their word will be juxtaposed with archival material from the events, some of which are unpublished, which will reflect the collective euphoria in which Sept-Îles and all of Quebec were then bathed.

In the mountains of Madrid, Spain, a railway track on an abandoned bridge and a poem erased from the wall of a ruined building reveal a deliberately silenced story: the system established by Franco's dictatorship after the civil war (1936-39) that allowed hundreds of companies to use thousands of convicted Republicans as slave labor.

Stanley Kubrick’s first color film, commissioned by the Seafarers International Union to promote the benefits of union membership. Shot inside the union’s Atlantic and Gulf Coast District facilities, it features scenes of ships, machinery, cafeteria life, and meetings, highlighting the daily routines and camaraderie of seafarers. Thought lost for decades, the film was rediscovered in 1973 and preserved by the Library of Congress.

How Finnish immigrants came into contact — and conflict — with industrial America. Three generations of Finnish-Americans recount how they coped with harsh realities by creating their own institutions: churches, temperance halls, socialist halls, and cooperatives.

This film documents the coal miners' strike against the Brookside Mine of the Eastover Mining Company in Harlan County, Kentucky in June, 1973. Eastover's refusal to sign a contract (when the miners joined with the United Mine Workers of America) led to the strike, which lasted more than a year and included violent battles between gun-toting company thugs/scabs and the picketing miners and their supportive women-folk. Director Barbara Kopple puts the strike into perspective by giving us some background on the historical plight of the miners and some history of the UMWA. Preserved by the Academy Film Archive in partnership with New York Women in Film & Television in 2004.

A desperate cry for help written in Chinese was discovered in a pregnancy test sold in France and made in a Chinese factory. It revealed a hidden world of Chinese prison-companies where prisoners are forced to work for 15 hour days manufacturing products for export. This documentary tries to find out who wrote the letter.

Shrouded in secrecy and notoriously cash-strapped the North Korean regime has resorted to running one of the world's largest slaving operations - exploiting the profits to fulfil their own agenda. These bonded labourers can be found in Russia, China and dozens of other countries around the world including EU member states. Featuring undercover footage and powerful testimonials, we reveal the scale and brutality of the operation and ask what, if anything, is being done to stop it.

Documentary look at the 1996-97 effort of the dancers and support staff at a San Francisco peep show, The Lusty Lady, to unionize. Angered by arbitrary and race-based wage policies, customers' surreptitious video cameras, and no paid sick days or holidays, the dancers get help from the Service Employees International local and enter protracted bargaining with the union-busting law firm that management hires. We see the women work, sort out their demands, and go through the difficulties of bargaining. The narrator is Julia Query, a dancer and stand-up comedian who is reluctant to tell her mother, a physician who works with prostitutes, that she strips.

Given the fetishizing and normalizing character that is given to motherhood in patriarchy in order to perpetuate the social order, do we truly choose to be mothers? Why is care, of fundamental vital labor, presupposed as an especially appropriate task for women?