Aaron and Angela, two young adults living in the Harlem ghetto of New York City, are deeply in love with each other. The only thing standing in the way of their love is their families. Aaron is black, while Angela is Puerto Rican, and neither family wants one of their own to associate with the others. As the pair rebel against the prejudices of their families, they soon find the conflict spreading out to their friends and neighbors, until the hatred threatens to spiral out of control.

纽约唐人街一家社区银行2015年被联邦检察官起诉，成为2008年美国金融危机后唯一一家被起诉的银行。这个故事拍成了一部纪录片。2008年美国金融危机有个关键词叫“大不能倒” (Too Big to Fail)，指的是因滥发房屋次级贷款导致危机的美国大金融机构太大而不能倒 闭。实际上危机过后没有一家大金融机构或个人对那次危机承担法律责任。
一部最近公映的由独立制片人制作的纪录片，记录了金融危机后联邦政府起诉的唯一一家银行——由华人移民创办的纽约唐人街社区银行——国宝银行，以及它的创办人孙启诚和他家人赢得官司的过程。相对于“大不能倒”，记录片取名“小须入狱” (Small Enough to Jail)。
2012年5月31日，总部在纽约唐人街的国宝银行连同两名贷款主管，被纽约曼哈顿地区检察官办公室起诉，罪名从伪造商业记录、民用贷款欺诈、严重盗窃、串谋等共182项。纽约曼哈顿地区检察官万斯:“我认为这是长时期系统性欺诈，把风险转移到不知情的第三者身上。”检察官:“被告国宝银行涉入一起正在进行的贷款欺诈阴谋，他们不断篡改和伪造贷款文件，然后欺骗联邦国民抵押贷款协会，众所周知的房利美。”
国宝银行创办人孙启诚 : “这个话对我们来讲就荒唐了。为什么？第一我们根本没有次级贷款。而且我们没有倒账（坏账）。国宝银行的律师普瓦洛斯基：“在被指控的5年时间里，国宝总共卖了3000个贷款给房利美，3000个里只有9个有问题。”余启斌，一名被国宝银行开除的问题员工成为检察官办公室的主要污点证人，指控国宝银行贷款部伪造文件骗取贷款。但他的证词受到法官的质疑，最终也没有被陪审团采信。
影片导演詹姆斯在案件还在审理的时候就开始了拍摄。他说，他相信国宝银行是清白的。《小须入狱》导演詹姆斯：“认识了这个家庭，了解了他们的为人，我不相信他们有罪。不过我告诉他们，如果我们真的要讲这个故事，我们也要看另一方，如果有过硬的证据，证明你们有罪，那会包括在影片中，我们会直接面对你们。但我从未感到检察官的起诉具有说服力。”
孙启诚：“2015年6月5日，纽约时报报道，经过一个月的审理，陪审团认定两名被告和国宝银行无罪。”但对孙启诚来说，他们全家，他的妻子和4位女儿，经历了长达5年的煎熬，银行贷款业务完全停摆；官司花费总共超过1000万美元。孙启诚：“所以说，我在官司打完时，有一句话我说，公理是看你能付出多大代价，到底你能够承担多少？这个道理我说我懂了。”
孙启诚说，国宝银行的官司虽然赢了，但已认罪的10名员工罪名依然成立；而不愿认罪的9名女员工加两名男主管，在5月31日起诉那天，受到了侮辱性对待。孙启诚： “检察官很容易地选了华人，为什么呢，因为我们华人不投票，没有政治力量，冤枉你们是没事情的，没有后果的。”82岁的孙启诚，1952年从香港移民美国，年轻时就立志要当律师、办银行，为华人服务。1984年他创办了国宝银行。
孙启诚说，这次官司给他最大的教训是华人要参政，要运用投票权，要显示力量，不能自顾自。他说这个话是有原因的，因为从始至终，甚至在他赢了官司后，都没有得到社区民选官员对他，或至少对国宝银行受侮辱员工的支持。他认为，如果这场官司能唤起华人参政的热情，那么他和他的家庭所付出的代价也就算值了。
by @Bonnae

To an American audience, "The Abandoned Field: Free-Fire Zone" is an unusual movie in many ways. First, this Vietnamese film tells a story of the Vietnam War through the eyes of Viet Cong guerillas. Instead of the camera hovering above the ground in the U.S. helicopters, it's in the rice paddies looking up at those lethal machines. Second, it depicts the effects of war on a family (mother, father, and child) whose daily life is made unpredictable and uncertain by the whims of battle. Granted, the father and mother are VC guerillas who voluntarily put themselves – and their child – in harm's way, but this touches upon another uncommon element: Hollywood audiences aren't used to seeing a woman (the wife) as a protagonist in a war drama. These qualities alone would make "The Abandoned Field" of great interest, but the film also does more. This movie is quite well made. The story is briskly paced, but it still takes time for quiet observations of the couple's frugal family life as they hide from the choppers. The film's visual surface appears equally frugal. The hand-held black & white cinematography gives the images a rough-hewn feel that captures the spirit of the 1960s New Wave and resembles early newsreels of the war. This visual approach might have been completely determined by the economic realities of the time, but the film's low-tech look seems to stand in defiant opposition to Hollywood's high-gloss surface. It's as though director Hong Sen Nguyen wanted to utilize a "guerilla" visual style to match the content of his story. Of course, being from Vietnam, "The Abandoned Field" wants us to side with the guerillas, but the movie also acknowledges the humanity of an American soldier and presents him as an equal victim of the war. Certainly, the movie is more even-handed than most American films about Vietnam, especially those of the Rambo/Chuck Norris variety. The movie's biggest drawback for U.S. audiences is that its American characters are played by Vietnamese actors (some of whom look racially mixed) speaking in the Vietnamese language. Of course, this instance of unbelievable casting arose from Vietnam's lack of access at the time to professional American talent. The American viewer simply has to accept it as a convention. Another admirer of "The Abandoned Field" is director Oliver Stone, who also bemoans the film's lack of authenticity in things American. He once remarked at a UCLA panel that he wished he could have been the film's technical advisor. But its inaccuracies didn't interfere with his enjoyment of the movie. (Stone would go on to direct his own war drama told from the perspective of a Vietnamese woman: 1993's "Heaven & Earth.") "The Abandoned Field" offers American audiences an unusual and absorbing story. Coming to the movie with an open mind, viewer

On a stormy night, a needy man picks up a wallet full of money, only to find the owner observing him closely. To his surprise, the brooding owner begs him to keep the purse as he won’t be needing it anymore. It is revealed that the latter intends to commit suicide before the dawn. It's up to the poor, yet compassionate man to convince the grieving stranger to change his mind before it's too late.

ABC of a Strike captures the 1979 metal workers strikes outside of São Paulo. The footage sat untouched until after the death of highly-regarded director Leon Hirszman in 1987, by which time the material had a new relevance. The gripping film captures the negotiations between the labor unions and the factory bosses and shows the birth of the region’s Worker’s Party, as well as the emergence of its charismatic leader, Luiz Inácio Lula da Silva. Rising from extreme poverty, Lula gained national prominence as a union activist during the late 70s and early 80s. After being jailed during his time as a union leader, he eventually becomes Brazil’s president from 2003 to 2010.

近年，美國有超過2500本書被下架，過百萬名學生因此無法再在學校裡接觸到這些被標籤為「全面禁止」、「限制級」或「含有爭議性內容」的作品。同時，這些作品的題材，正是美國保守派一直不願面對的議題：性少眾權益、黑人歷史、女性賦權。禁書將妨礙我們的下一代對於社會議題的獨立思考能力的發展。這部紀錄短片透過訪問片段，讓大眾看見這群對世界充滿好奇的小小讀者、聽見受影響的年青讀者及作者們的心聲。

Abendland is a brilliantly evocative film essay about the Western world, specifically its affluence and exclusiveness. Director Geyrhalter explores this theme with striking images, all filmed at night, that are typical of a modern, industrialized, wealthy civilization: a streamlined crematorium, a complicated security surveillance room, a cold and eerily quiet television news studio. Mass mechanization is a common thread throughout, turning what should be intimate exchanges between people into depersonalized mechanical operations. The director states that he wanted to “capture Europe in a film.” And it is captured, with a wealth of details that makes us look at Europe and ourselves in a new way.

英国剧作家、电影和戏剧导演迈克·李的1977年的话剧作品，BBC于同年将其改编并搬上银幕，获得了巨大反响。
贝弗莉邀请她的新邻居安吉拉和托尼晚上来做客。受邀的还有也住在附近的苏，因为苏的15岁女儿阿比盖尔正在她家里举办她自己的派对。而贝弗利的丈夫劳伦斯工作繁多，戏剧开始时他刚刚加班回到家，不久后客人们就来了。聚会就这样在颇为尴尬和矜持的气氛中开始了。

A documentary about an innovative Disability Studies class at NYU Tandon School of Engineering where engineering students and adults with cerebral palsy learn to communicate, connect, and cultivate their abilities by making movies.

1984 film by Roger Gnoan Mbala

Joshua is burdened with a single task that will ultimately decide the worlds' fate.

Why are illegal abortions more accessible in Poland than legal ones in South Africa? This documentary feature explores and contrasts changes in Poland and South Africa regarding abortion laws and their impact on the lives of women. In the 90's, Poland banned abortion due to the increasing influence of the Catholic Church after the fall of communism; around the same time South Africa legalized it, reforming the health system after the fall of apartheid. The film reveals how the legal status of women is a direct result of the silencing or empowering of women's voices. In the Polish society and media, women's perspectives were made invisible; in South Africa, on the other hand, they were invited to give public hearings in the parliament about problems in the realm of reproduction.

The Abortion Diaries is a documentary featuring 12 women who speak candidly about their experiences with abortion. The women are doctors, subway workers, artists, activists, military personnel, teachers and students; they are Black, Latina, Jewish and White; they are mothers or child-free; they range in age from 19 to 54. Their stories weave together with the filmmaker’s diary entries to present a compelling, moving and at times surprisingly funny “dinner party” where the audience is invited to hear what women say behind closed doors about motherhood, medical technology, sex, spirituality, love, work and their own bodies.

在费城的一个堕胎求助热线，咨询师不停地接听那些试图终止妊娠但又无力负担的妇女的电话。在这部纪录片中，我们了解到经济耻辱和残酷的立法如何决定谁有权堕胎。

Women have always sought ways to terminate unwanted pregnancies, despite powerful patriarchal structures and systems working against them. This film provides a historical overview of how church, state and the medical establishment have determined policies concerning abortion. From this cross-cultural survey--filmed in Ireland, Japan, Thailand, Peru, Colombia, and Canada--emerges one reality: only a small percentage of the world's women has access to safe, legal operations.

在非洲的小国乍得，十五岁和八岁的两兄弟展开了千里寻亲的旅程。突然失踪的父亲遗留下无法填补的空白，他们逃学，闲荡，走过大街小巷。寻找父亲的道路愈走愈漫长，愈走愈曲折，但是他们热情不变，即使母亲把他们送往管教严厉的寄宿学校亦于事无补。虽是描写失落，却不带半点伤感。小镇生活的温馨祥和，辽阔空间的丰富色彩，两个小演员的天真演绎，都赋予电影一片希望。导演哈龙旅居法国二十载，对祖国乍得的由衷关心，以及在异乡成形的知性觉悟，结合成这部电影的恋恋情怀。

A feature length documentary exploring violence and social change through the stories of ex-fighters from the Lebanese Civil War.

无尽之中，我们被一个女人温柔的声音引导着整个世界。那是一种神话般的声音，一首Scheherazade给我们讲述了人类生活和奋斗的永恒故事：“我看到一个孩子在雨下走着去参加生日聚会……”“我看到一个还没有找到爱的男孩……”“我看到一个不再信任银行的男人……”我们从一系列显而易见的琐碎瞬间，看到男人和生活的平凡和宏伟，这些琐碎的时刻反映了生活的辉煌：一个女孩第一次握住一个心爱的男孩的手；一个父亲在倾盆大雨中系住他女儿的鞋带；一个年轻的女人等待她的ap。点睛之笔——但也包括人类残忍表现在平庸中的时刻——一个人拖着十字架；一个残废的战争老兵坐在路边；一个父亲把死去的儿子抱在怀里——就像生命的号角一样，关于永无尽头，向我们展示了祢的宝贵和美丽。R存在，唤醒我们希望保持这永恒的宝藏并传递它。

“Essay, a term from written literature: unity of science and art; unity of social and individual knowledge,” Harun Farocki wrote in a first draft of the project Erzählen. The film follows two people (played by Engström and Farocki) investigating their respective subjects: one is tracing the involvement of the German heavy industry in the rise of Nazi-Germany, the other is interested in the fate of Larissa Reissner, a young Soviet writer and revolutionary. Both of them struggle with the question of how to organize their research and find a narrative structure. Their paths cross, and the film turns into an essayistic interrogation of structuralist narratology.