The film features interviews with Perry and her loved ones documenting the trajectory of her life, containing various clips from her childhood and teenage years as well as her career and personal life (ranging from December 1999 to March 2012). The film is spliced with performances from her worldwide California Dreams Tour, which had 127 concerts from February 20, 2011 to January 22, 2012. Most of the performances were recorded on November 23, 2011, at the Staples Center in Los Angeles, but also included performances in Tokyo and São Paulo. Some of her friends such as Rihanna, Lady Gaga, and Jessie J make cameos in the film. The documentary includes scenes of Perry dealing with the breakdown of her marriage with English actor/comedian Russell Brand.
The film looks at the relationship between Polley's parents, Michael and Diane Polley, including the revelation that the filmmaker was the product of an extramarital affair between her mother and Montreal producer Harry Gulkin. It incorporates interviews with Polley's siblings from her mother's two marriages, interviews with other relatives and family friends, Michael Polley's narration of his memoir, and Super-8 footage shot to look like home movies of historical events in her family's life. The cast in the Super-8 re-creations includes Rebecca Jenkins, who plays Diane – who had died of cancer, on January 10, 1990—the week of Polley's 11th birthday.
Growing up in Columbia, Missouri, director Grace Lee felt that she had a unique name and identity, as there were not many other Asians in her community. When she moved to New York and Los Angeles, she found her name shared by many other people. Dissatisfied with the "nice" personality commonly ascribed to the Asian-American women with this name, she sets out to find people who break the mold, including Grace Lee Boggs, a Chinese-American philosopher and activist.
Next to a fast-spinning windmill, a young boy enters a large toy aeroplane and says he will fly to China. An old man, Joris Ivens, sits on a chair in the Gobi Desert. On the sand dunes around him a group of men are raising poles with microphones.
Fascinated by the power of the camera and obsessed with the theories of Russian film pioneer Dziga Vertov, a filmmaker decides to get a camera eye to replace the real eye he lost as a child. This visionary quest begins on the operating table where a surgeon grafts a prototype ocular implant into his eye socket. Seeking a microscopic camera that could be incorporated into his artificial eye so he could secretly film whatever he sees, the filmmaker explores the futuristic technology that could make this possible, while revisiting chapters of his own past.
Back in his home town of Babylon after a long exile, the Iraqi-born director Abbas Fahdel asks himself: "What has become of my friends? What has life here made of them? What would life here have made of me had I not decided to follow the course of destiny elsewhere?" In his search and inquiries, his encounters with the friends of his youth, it is the situation today in Iraq that is revealed through the camera's eye: the ravages of Saddam Hussein's dictatorship, the after-effects of the Iran-Iraq war, the Gulf War and the embargo imposed by the United Nations.
Un ovni cinématographique, composé de sketches pour lequel le chanteur Philippe Katerine a engagé ses proches et ses amis. Sous des dehors légers percent des thèmes autrement plus sérieux : le fantasme, la mort, l'enfance.
L’actrice et réalisatrice Paule Baillargeon retourne au pays de son enfance : l'Abitibi. Sur la route de Montréal à Val-d'Or, des instants qui ont marqué son existence resurgissent dans sa mémoire. À travers cet autoportrait hybride, Baillargeon raconte le parcours d’une femme, d'une féministe, d'une mère, d'une artiste.
En 1969, Pasolini voyage à travers la Tanzanie et l’Ouganda à la recherche des décors et des personnages de son prochain film : une adaptation de L'Orestie" d’Eschyle dans l’Afrique contemporaine. Il commente à voix haute, interroge les visages, les paysages, les situations et lit de larges et significatifs passages d’Eschyle.
Il confronte ses idées, ses notes de voyage avec un groupe d’étudiants africains installés à l’université de Rome. Le film ne verra jamais le jour, mais ces notes filmées (et montées) par le cinéaste offrent une médiation sur l’indépendance, les promesses de la démocratie et le passage de l’âge archaïque à la civilisation moderne.