The events revolve around Mariam, a woman who is forced by circumstances to abandon her daughter, Tamara, as a child, so the latter grows cold toward her. Mariam is also being deceived by her psychiatrist and her husband, Youssef.
Summer of 1982, a beach in the south of Portugal. Rui and his parents live closed in their worlds, blind to the failure that characterizes them as a family and condemns them to the malaise of survival.
Rui will have school exams but he is only interested in music and in the exploration of imaginary worlds that he constantly sketches in drawings. Only Joana seems capable of pulling him out of his autism. The girl's vitality fascinates him.
Mohamed D'abis worked as an assistant director and technician for many independent Lebanese filmmakers. In the winter of 2000, he left his home and never came back. His body was found months later inside an abandoned war-damaged building in Beirut. In this documentary, director Mohamed Soueid reflects on the life and death of his friend and frequent collaborator.
A two part series focusing on the team of collectors, researchers and historians at The National Folklore Collection in UCD who have set out to record memories of the Irish Civil War that were passed on through families and communities throughout Ireland.
The 3-part documentary series The Irish Civil War tells the epic and often challenging story of the origins, conflict and legacy of the civil war that took place in Ireland in 1922 and 1923.
Narrated by Brendan Gleeson, produced in partnership with University College Cork by RTÉ Cork as part of the Decade of Centenary commemorations and based on UCC’s “mammoth and magnificent” Atlas of the Irish Revolution, this documentary series features extensive archive film footage, photographs and materials, interviews with leading academics, archive interviews with contemporary participants and witnesses, firsthand witness accounts read by actors, detailed and dynamic graphic maps based on those featured in the Atlas of the Irish Revolution, and stunning cinematography of the very locations where events took place.
For Mexican and Mexican American communities, boxing is more than a sport. From ring walk-ins to trunks, opponents take full advantage of the theatrical spectacle, narrating their histories and the stories of their individual fanbases. In 1996, Oscar De La Hoya, the charismatic golden boy from East L.A, challenged Mexican-born boxing legend Julio César Chávez in what was billed as the “ultimate glory” fight. Mexicans on both sides of the border were forced to choose their favorite champ: the record-holding immigrant from humble beginnings, or the younger and more marketable Olympian born in the U.S. These rivals felt the pressure to prove their athletic superiority, while the fans’ choice of champion revealed the type of Mexican they aspired to be.
