In Light of the Revolution

Today we cut the granite with diamond-cut blade as is one of the most difficult rocks to cut due to its hardness.How could the egyptians, if it was them, have achieved those shapes in the sculpture sphinx of Sénousret made of Migmatite material, which is harder than granite? What was that extraordinary tool that made this possible? This example is what disputes all the official theories of egyptology. Dozen of questions now arise. Did the egyptians really have an advance technology that was losted over time? The answer is in this movie.Lucky is to understand that in 2019, we have a chance to learn how the Great Pyramid was built, who built it, and what its hidden behind it. Let yourself go and come discover the biggest mystery of humanity, the New Great Story!

Feisty, fiercely independent and firmly rooted in place, 90 year-old Mabel Robinson broke barriers back in the 40s when she became the first woman in Hubbards, Nova Scotia, to launch her own business—a hairdressing salon where she still provides shampoo-n-sets over 70 years later. Weaving animation and archival imagery with intimate and laugh out loud moments in the salon, the film celebrates the power of friendship, doing what you love and staying active. With no desire to retire anytime soon, Mabel gives voice to a generation who are not front and center of cinema or the pop hairstyles of the day, and subtly shifts the lens on our perception of beauty and the elderly.

For over 4000 years, the Sphinx has puzzled all who have laid eyes on it. What is this crouching lion, human-headed creature? Who built it and why? To unlock its secrets, two teams of scientists and sculptors immerse themselves in the world of ancient Egypt — a land of pharaohs and pyramids, animal gods and mummies, sun worship and human sacrifice.

The Uprising shows us the Arab revolutions from the inside. It is a multi- camera, first-person account of that fragile, irreplaceable moment when life ceases to be a prison, and everything becomes possible again.

They raised children, baked cakes... and built world-class fighter planes. Sixty years ago, thousands of women from Thunder Bay and the Prairies donned trousers, packed lunch pails and took up rivet guns to participate in the greatest industrial war effort in Canadian history. Like many other factories across the country from 1939 to 1945, the shop floor at Fort William's Canadian Car and Foundry was transformed from an all-male workforce to one with forty percent female workers.

Pacific Mother journeys from Japan, to Hawaii, Tahiti, Rarotonga and Aotearoa to share interwoven stories of formidable women who live at one with the Pacific Ocean – freediving, spearfishing and paddling waka through its depths and playing with their children in its shallows – a stark contrast to fast-paced lifestyles of larger towns or cities. These women are all mothers who experienced diverse births in hospital, at home and by the sea, with and without medical assistance. Fukumoto also meets Māori and Japanese midwives who share indigenous traditions and rituals around birth that have been lost over recent generations, and are now gradually being reclaimed. Their stories demonstrate just how disconnected the global default maternity system is from the instinctive and cultural needs of mothers and families. They inspire a call to action on birthing rights, as well as a call for parents’ reconnection with their role as nurturers and protectors of their natural environment.

Women’s voices rise to deliver testimonies of victims of sexual violence. By reconstructing a story with these fragments of experience, a societal portrait is painted throughout the documentary. Like a mosaic, the pieces stick together to build a unique story that could belong to any human.

Women are sexually insulted and threatened by men every day. Experts around the world are registering an anti-feminist backlash that seems to be on the verge of becoming socially acceptable. Particularly affected: women in publicly visible positions – such as politicians, actresses or entrepreneurs. Who is behind the attacks and what are the motives?

From January 25 to May 27, 2011, the film tracks four months of the Egyptian revolution as seen through the director's eyes. January 25 is the beginning, but May 27 is not the end - because the revolution continues.

Huiju learned of her biopsy test results, but lied to her mum about them. Feeling guilty about the lie, she embarks on her journey to find cancer patients who have the same diagnosis as hers and learns about their experiences. After hearing their stories, she finds the courage to tell the truth to her mum.

Documentary about the Egyptian club Al-Ahly achieving the title of the African Champions League for the ninth time (2020) after failing to achieve the title since 2013, and the film revolves in several chapters between failure and fear until we reach the title.

From the exile of King Farouk in 1952 to the departure of Hosni Mubarak in 2011, this three-part documentary revisits Egypt's contemporary history, focusing on four recurring pillars: the army, civil society, the Muslim Brotherhood and the country's interactions with foreign powers.

Whether famous or anonymous, stars or prisoners, models or sex workers, women have always been at the center of Bettina Rheims' photographic work since her debut in 1978. Both subversive and glamorous, trashy and sophisticated, her photographs mark and bear witness to the upheavals of the era, which this leading photographer both anticipated and accompanied.

When one thinks of the American Deep South, the image of veiled Muslim students strolling the University of Alabama campus is the last thing that comes to mind. VOICES OF MUSLIM WOMEN FROM THE US SOUTH is a documentary that explores the Muslim culture through the lens of five University of Alabama Muslim students. The film tackles how Muslim women carve a space for self-expression in the Deep South and how they negotiate their identities in a predominantly Christian society that often has unflattering views about Islam and Muslims. Through interviews with students and faculty at Alabama, this film examines representations and issues of agency by asking: How do Muslim female students carve a space in a culture that thinks of Muslims as terrorists and Muslim women as backward?

A young Egyptian filmmaker recounts his interaction with a group of plainclothes policemen while grappling with issues of guilt and morality.