Mexican filmmaker Sebastián (Gael García Bernal) and his executive producer Costa (Luis Tosar) arrive in Cochabamba, Bolivia, accompanied by a cast and crew, prepared to create a film depicting Columbus's first voyage to the New World, the imposition of Columbus’ will upon the natives, and the subsequent indigenous rebellion. Cognizant of his limited budget, producer Costa elects to film in Bolivia, the poorest country in South America. There, impoverished locals are thrilled to earn just two dollars a day as extras in the film, and willingly engage in physical labor for set preparation. Costa saves many thousands of dollars by having underpaid extras perform tasks meant to be completed by experienced engineers.
There are five cameras — each with its own story. When his fourth son, Gibreel, is born in 2005, self-taught cameraman Emad Burnat, a Palestinian villager, gets his first camera. At the same time in his village of Bil’in, the Israelis begin bulldozing village olive groves to build a barrier to separate Bil'in from the Jewish Settlement Modi'in Illit. The barrier's route cuts off 60% of Bil'in farmland and the villagers resist this seizure of more of their land by the settlers.
The film consists of a series of interviews conducted by William Shatner, who portrayed Captain James T. Kirk in the original Star Trek with the various other actors who have portrayed Star Trek Captains: Sir Patrick Stewart, Avery Brooks, Kate Mulgrew, Scott Bakula and Chris Pine. The Captains delves into each actor's life and career leading up to their film or television performances. The film devotes attention to Shatner's own acting roots, tracking his journey from his beginnings at the Stratford Shakespeare Festival and CBC Radio and CBC Television, to headlining Broadway shows, and eventually getting his break in Hollywood at the helm of Gene Roddenberry's Star Trek series.
A European filmmaker is making a movie with children living in a foster home for socially excluded youngsters in Tangier, Morocco. While filming, the director's unorthodox methods of working cause his relationship with the children to disintegrate to such a point that the initial course of the project is altered.
Ce sont des séries de bobines de films de 35 mm allemandes, anonymes, sans générique, portant la seule inscription : Das Ghetto, retrouvées dans les années 1950 qui sont à l'origine du film de Yahel Hersonski. Ces bobines constituent un « documentaire » allemand sur le ghetto de Varsovie durant la Seconde Guerre mondiale. Dans les années 1990, la découverte d'une bobine manquante viendra éclairer la propagande qui se cachait dans les premières images retrouvées et le véritable but des Allemands qui réalisèrent ces images.
Depuis des décennies, Freddy Krueger s'est frayé un chemin à travers les rêves d'innombrables jeunes, effrayant plus d'un demi-milliard de dollars au box-office à travers huit films terrifiants et spectaculaires.
Gustave Kervern et Benoît Delépine ayant aimé l'esthétique de Substitute, ils ont demandé à Fred Poulet de réaliser le making of de leur film. Il s'agissait d'en garder une trace s'il ne se faisait pas, avec pour exemple Lost in La Mancha, revenant sur le tournage d'un film maudit de Terry Gilliam, L'Homme qui tua Don Quichotte (The Man Who Killed Don Quixote).
The documentary chronicles the making of Emily Hagin's feature-length zombie film Pathogen. The film, which took Hagin two years to complete and screen, was met with several setbacks during its filming due to elements such as theft of property. During the filming of Zombie Girl, the directors noted Hagin's growth as a fledgling director, as she was twelve at the time Pathogen was made.
The documentary follows American director, Jim Wynorski, in his attempt to make a film in three days. By cutting shooting schedule, crew, equipment, and food, Jim tries to eliminate any unnecessary limitations that would slow down production.