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The Fazili family shoots their perilous journey from Afghanistan through the Balkan migration route to an uncertain future on three mobile phones.
Across Afghanistan, Kosovo, and Washington DC, musician PJ Harvey and photojournalist Seamus Murphy craft a beautifully shot, sensitively edited film on observation, experience, and the creative process.
Laila at the Bridge takes the viewer on a harrowing journey to Kabul’s dark underpass, following a woman who attempts to save as many drug addicts as she can.
ANIMATED MOVIES: Girls dressed as boys in Kabul and Tehran’s underworld of sex, drugs and rave music are portrayed through the eyes of children in the animated movies The Breadwinner and Tehran Taboo.
Social experiments, nudity and methods to the madness – don’t miss this year’s edition of CPH:Dox.
AFGHANISTAN: If you want to run a school for girls in Afghanistan, you might have to check your water for poison each morning. Is it worth it?
Is the credibility of a documentary film in danger when the director changes the life story being portrayed in order to get the saleable result he or she wants?
EURODOK: Two young men are waiting to be called to action as suicide bombers in Syria. Pål Refsdal’s recent documentary depicts a surprisingly intimate portrait.
In Erik Poppe’s latest film, photographer Rebecca states that she is furious with people who do not care. For the true war photographers of our time, such as Alexandra Boulat or Zoriah Miller, the job is more profound than that.
Do I need to have a religious, sexual and cultural identity? What if my identity becomes a hindrance? Bianca Olivia Nita looks at personal identity in a series of films about contemporary Muslim women.
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