Sugar Coated investigates a once secret public relations campaign, dating back to the 1970s, where the sugar industry deflected threats to its multi-billion dollar empire from scientific research emerging implicating processed sugar with adverse health effects. In order to continue sweetening the world’s food supply, thus securing continued profits, the sugar industry turned to the very same deceptions and tactics lifted from the tobacco industry. Using big sugar’s own internal documents on this strategy, Sugar Coated reveals the well-oiled tricks of the trade to confuse the public about what is really driving the global pandemic of obesity, diabetes, and heart disease. Will we be fooled again?
In the early 2000s, two brothers garnered tremendous wealth when they started a company selling so-called “non-lethal” taser weapons, which quickly saturated police agencies and reinforced a culture of trigger-happy police officers. But instead of “saving lives” as was the catch-cry of the taser, and the company, the weapons were instead commonly used for pain compliance, and lead to a spurious string of deaths. The company didn’t back down. They insisted, despite mounting evidence to the contrary, that their weapon was safe and not at fault—not even a contributing factor—in the killings. Killing Them Safely delves into this troublesome mindset and that of the company, as well as the social implications of such weapons in a problematic police culture.
Over the past several years, a seemingly relentless string of killings by police of unarmed black men—Michael Brown in Ferguson, Freddie Gray in Baltimore, Eric Garner in New York—has reignited issues around race, policing and civil rights in the United States that have been languishing unresolved for decades. Recently the issues are critical enough that the Department of Justice has stepped in to mandate reform of several police forces renowned for brutality and institutional abuses of power. In Policing the Police, journalist Jelani Cobb gets up close and personal with police departments and officers alike, to show from the inside the difficulties these institutions now face of fixing a broken relationship with the community after decades of mistrust. Is it even possible with the current police culture? Policing the Police is a powerful case study of these questions, and a light on just how much has to change.
The Mask You Live In unpacks how this culture’s narrow and harmful definition of masculinity effects boys, young men; girls and women; and society in general in myriad ways, as our children struggle to stay true to themselves when confronted by this culture. Pressured by their peer group, heavily influenced by a barrage of media messages, and even their very own parents and other adults in their lives, our protagonists confront messages encouraging them to disconnect from and suppress their emotions, devalue authentic friendships, objectify and degrade women, and resolve conflicts through violence, control and manipulation. These traits and stereotypes closely interconnect with problems of race, class, and circumstance, creating a maze of identity issues boys and young men must navigate to become “real” men as the culture expects and perpetuates. Experts in neuroscience, psychology, sociology, sports, education, and media also weigh in, offering empirical evidence of how these issues intersect, and what we can do about it.
In Requiem for the American Dream, renowned intellectual figure Noam Chomsky deliberates on the defining characteristics of our time—the colossal concentration of wealth and power in the hands of the few and fewer, with the rise of a rapacious individualism and complete collapse of class consciousness. Chomsky does this by discussing some of the key principles that have brought this culture to the pinnacle of historically unprecedented inequality by tracing a half century of policies designed to favour the most wealthy at the expense of the majority, while also looking back on his own life of activism and political participation. The film serves to provide insights into how we got here, and culminates as a reminder that these problems are not inevitable. Once we remember those who came before and those who will come after, we see that we can, and should, fight back.
The Hacker Wars explores the strange duality of the modern-day computer-hacker as a mischievous provocateur, but also in some cases, societal activists with underlying political fervour, serious or not. The film explores this by profiling some of the renowned characters that have tickled the secretive inner workings of corporations and government agencies for various reasons—ranging from the nefarious and narcissistic, to the political and scandalous. Some do it for the lulz, others do it to prove a point, and others still do it to speak truth to corrupt power. In any event, many have faced severe punishments as a result. Weaving through this, The Hacker Wars touches on issues of whistleblowing, social justice and power relations, in a time where computer technologies represent extreme power and control. But for whom? And what? This poses the question in deciphering the personalities of the hackers themselves. Are they troublemakers driven solely by a need to instigate havoc and chaos? Or are they in part activists with good intentions?
1966, United States. A new revolutionary culture was emerging and it sought to overthrow the corrupt systems of power waging the invasion of Vietnam, amongst the struggle for equality and civil rights at home. Beginning with armed citizens’ patrols to keep police accountable and challenge police brutality in Oakland California, The Black Panther Party put itself at the vanguard for social change, expanding in 1969 to community social programs, including free breakfast for school kids and community health clinics. This lead the FBI to call the movement “the greatest threat to the internal security of the country,” and start an extensive government program called COINTELPRO to surveil, infiltrate, perjure, harass, discredit, destabilise and disintegrate the movement. This film chronicles the story arc of the Black Panthers successes and failures, through the voices of the people who were actually there: police, FBI informants, journalists, white supporters and detractors, and the Black Panthers themselves.
This Changes Everything presents seven portraits from communities across the globe in an attempt to re-imagine the vast challenge of addressing climate change. From Montana’s Powder River Basin to the Alberta Tar Sands, from the coast of South India to Beijing and beyond, the film ties together stories that highlight the connection of the pollution that is changing the climate with the economic system that put it there. Author Naomi Klein builds the basis to argue that we could seize the existential crisis of climate change to transform the failed economic system of capitalism into something better. Nothing short of an ecological revolution will be required. Will this film change everything? Absolutely not. But you could, by answering its call to action.
This short video explores how the online world has overwhelmingly become the popular outlet for public rage by briefly illustrating some of the many stories of everyday people which have suddenly become public enemy number one under the most misunderstood of circumstances and trivial narratives. With the web acting like a giant echo-chamber, amplifying false stories and feeding on the pent-up aggression of the audience watching the spectacle, The Outrage Machine shows how these systems froth the mob mentality into a hideous mess, as a good example of where the spectacle goes and how its intensity has to keep ratcheting up in order maintain the audience attention, in a culture of dwindling attention spans, distraction and triviality.
Plutocracy: Political Repression in the United States is a series of films that comprehensively examine early North American history through the lens of class, to enable a wider critique of the social order in contemporary United States. The series not only documents and exemplifies individual strikes and labour movements throughout the centuries, but also serves to connect the narratives and political lessons of an entire era from a working-class viewpoint, forming a solid base of analysis for class struggle.
The microbeads of plastic contained in cosmetics, shower gels, soaps, toothpastes, and many other products, of course directly end up in rivers and oceans, fish and birds, as well as other creatures of the sea and indeed land. But if that isn’t problematic enough, these tiny plastics are only part of the bigger problem of plastic prolifically choking the ocean to death. For all plastics, big or small, break down and fail into smaller plastic particles, having cumulative biological and toxicological effects. This short television report takes a quick look into how marine life is effected by all this, and why we should do something about it before it’s too late.
Salmon Confidential follows renowned biologist Alexandra Morton as she finds that wild salmon are testing positive for dangerous European salmon viruses associated with industrial salmon farming worldwide, and then, how a chain of events is set off by the Canadian government to suppress the findings. Scientists are gagged, research suppressed, evidence not allowed. With the industrial fish farms having moved into Morton’s neighbourhood in the late 1980s, since then, there has been a serious decline in wild salmon in the region. So, tracking her findings, the film follows Morton and her team as they move from courtrooms, to Canada’s most remote rivers, Vancouver grocery stores and sushi restaurants, providing insights into the workings of government agencies tasked with managing the ‘safety of fish and food supply,’ that always seem to put industry and the needs of corporations over the natural world, time and time again. Salmon Confidential becomes a call to action to help save the wild salmon from these atrocities, before they’re completely wiped out forever.
The legacy of the Bush administration and the so-called “War on Terror” includes a new logic that stretches well beyond the realm of overzealous security agencies, airport security and international relations, and into suppressing public protest; expanded surveillance aimed at entire populations, but especially activists; and mobilising fear for social control. Special police techniques have even been developed and applied in order to specifically suppress dissent and manage protests, especially in the wake of the rising anti-globalisation movements towards the turn of the millennium. Preempting Dissent provides a quick overview of how some of this logic developed, as well as a glimpse of how political protest in the West has been shaped and controlled in the “post-9/11″ years, up to and including the so-called Occupy movement. By provoking a reflection of the implications of the logic of the “War on Terror” and how its applied to stifle political protest, Preempting Dissent aims to lay some of the groundwork to develop more effective resistance tactics.
Industrial civilisation—based on the rapacious and unsustainable growth of ever-expanding cities—uses an insatiable amount of sand. Every year, beaches and oceans the world over are robbed of their sand in order to make the endless amounts of concrete, glass, silicon and other materials that are required to fuel this untenable way of life. Skyscrapers, glass buildings; every bridge, airport and footpath depends on sand. It’s also a central ingredient to creating optic fiber cables, smartphones, and computer chips. And just like oil, sand is a finite resource. So what are the consequences of sacrificing coastlines, beaches and oceans to mine sand for the global economy? Based on encounters with ‘sand smugglers,’ barefoot millionaires, corrupt politicians, unscrupulous real estate developers and environmentalists, Sand Wars takes us around the globe to unveil the lust for the last of the world’s sand, showing us what is at stake if this gold rush isn’t stopped.
Steve Jobs: The Man in the Machine is not just another celebratory biographical film about the life of a business man that many around the world grieved in 2011. It’s a full rounded critical examination into the fundamentals of a person revered as an iconoclast, a barbed-tongued tyrant, a business sociopath. The real Steve Jobs is revealed like this through candid interviews from those who had close relationships with him at different stages of his life, including the mother of his child, Lisa, that Jobs refused he had, but named a computer after instead. The film also takes us through the evocative essence of the brand of Apple Computers which has captured the population like zombies, and asks the question: What is the legacy of this industry, and the truth of this kind of person that the culture celebrates so much, completely ignoring the darkness?
War Matters chronicles a decade of anti-war protest in Britain through the story of veteran peace campaigner Brian Haw, who camped in Parliament Square for over 10 years in protest against the UK government’s policies in the Middle East. Brian began his campaign against war on 2nd June 2001, initially in protest of the sanctions against Iraq. After the September 11 attacks in the United States later on that year, Brian’s campaign took on a whole new level of importance. War Matters documents this shift by examining the larger issue of the British arms trade and the repercussions of the Iraq and Afghanistan wars around the world, as civil rights are being curtailed in so-called democracies. Where does democracy end and tyranny begin?
Who Pays the Price — The Human Cost of Electronics is a short film that seeks to humanise the largely hidden and anonymous global labour force that enables the ubiquitous technoculture, documenting the harsh conditions in which electronics are made and how this really impacts those people’s lives, and the environment. Toxic chemicals, plastics, and sweat-shop working conditions all contribute to the global machine that disseminates digital technologies, hidden in plain sight. Through direct footage of factory workers, interviews with them and analysis of the conditions, Who Pays the Price asks the question of the viewer, and as a call to action to stop the exploitation and toxification of people and the natural world.
By examining the people and practices of the media and entertainment industries, The Fourth Estate illuminates not only specific incidences of corruption by press groups, but how the wider model of mainstream journalism itself as a for-profit entity has a huge amount to answer for in terms of democracy and the state of politics throughout the world. Filmed over two years throughout the UK on no budget, the filmmakers profile journalists, organisers and critics of industrial media practices, stemming from the Leveson Inquiry in 2011 which was set up to examine the culture, practices and ethics of the British press following the News International phone hacking scandals of the Murdoch media empire. While the phone hacking scandal illuminated the depth and breadth of the culture of British journalism, the media’s focus at the time quickly diverted from a brief period of self-examination, back to business as usual. This film instead continues the analysis by looking at the larger implications of a for-profit media model and its connections to ideology, entertainment, and hence the resulting political framework that’s in crisis.
Maïdan is an observational film that documents the civil uprising and revolution that toppled the government of president Victor Yanukovich of Ukraine in 2014, and has since developed into an international crisis between Russia and the West. In long unedited strides, the film portrays the protests progressing over time from peaceful rallies, half a million people strong, to bloody street battles between protesters and riot police in Kiev’s Maidan Nezalezhnosti (Independence Square).
Concerning Violence narrates the events of African nationalist and independence movements in the 1960s and 1970s which challenged colonial and white minority rule. The film is an archive-driven video essay based on author Frantz Fanon’s ‘The Wretched of the Earth,’ covering the most daring moments in the struggle for liberation in the so-called ‘Third World,’ as well as an exploration into the mechanisms of decolonisation. Fanon’s text, which was banned soon after publication more than 50 years ago, remains a major relevant tool for understanding and illuminating the neo-colonialism still happening today, as well as the reactions against it.
In 2010, the United States announced the construction of the first new nuclear power plant in more than 30 years. But a year later in Japan, a 9.0 magnitude earthquake hit, preceding a cataclysmic meltdown at the Fukushima Daiichi Power Plant bringing the reality of nuclear power back into public consciousness across the globe. For some. Both political parties of the United States ignored this and continued a pro-nuclear agenda, while others, forgetting more of the past, didn’t realise the history of home. The Atomic States of America serves to break this forgetting by travelling from the gates of Three Mile Island, to the cooling ponds of Braidwood to document just some of what has happened and is happening with nuclear power in the United States today. By speaking with communities throughout the country, this film documents arrays of stories of polluted drinking water, government collusion with industry, cover-ups, cancer epidemics and other suppressed stories. Begun more than a year before the disaster in Japan, this film gains a unique before and after perspective, seeking to inspire an honest remembering about just what this culture has done and continues to do for power at the expense of the world.
In the past 40 years, global consumption of fish has doubled. Having decimated natural fish populations globally, the industrial food system has turned to mass-scale farming practices in order to sustain the unsustainable, supplying huge supermarket chains and commercial food outlets with cheap processed fish products. What do we know about this and these processes? And what of the lives of the fish? What about their health and the health of the waters in which they’re taken? Fillet-Oh!-Fish is the result of yet another indictment of the industrial food system, agriculture and factory farming—all of which have egregious implications to the health and well-being of species, and the planet as a whole. We see myriad mixes of pesticides and other chemicals, leading to toxic rivers and streams, the pervasiveness of the industrial food system, with glimpses into working conditions and processing methods, as well as the perniciousness of globalisation, with the world-wide reach of this crazy system that has hijacked a fundamental life-giver: food.
A secret illegal project from the 1950s, 60s and 70s called COINTELPRO, represents the state’s strategy to prevent resistance movements and communities from achieving their ends of racial justice, social equality and human rights. The program was mandated by the United States’ FBI, formally inscribing a conspiracy to destroy social movements, as well as mount institutionalised attacks against allies of such movements and other key organisations. Some of the goals were to disrupt, divide, and destroy movements, as well as instilling paranoia, manipulation by surveillance, imprisonment, and even outright murder of key figures of movements and other people. Many of the government’s crimes are still unknown. Through interviews with activists who experienced these abuses first-hand, COINTELPRO 101 opens the door to understanding this history, with the intended audience being the generations that did not experience the social justice movements of the 60s and 70s; where illegal surveillance, disruption, and outright murder committed by the government was rampant and rapacious. This film stands to provide an educational introduction to a period of intense repression, to draw many relevant and important lessons for the present and the future of social justice.
Made over five years, with contributions from hundreds of women and over 200 Australian films, For Love or Money is a pictorial account of women’s history in Australia over the past decades. The film chronicles the cycles of women’s gains and losses as they are moved in and out of the workforce according to demands of the age, revealing how women’s unpaid and voluntary work over the years has kept and continues to keep an entire system running smoothly, both in peacetime and in war. In this culture, women do the work that is never paid or still not even recognised as real work. This film shows how this system determines the kinds of jobs women do in the paid workforce–the low-paid, low-status jobs–and how women have fought and organised for equality and wage justice for over a century. For Love or Money remains relevant today as women continue the unfinished campaigns for equal pay, maternity leave and childcare, and still carry the major responsibility for caring and nurturing in the culture of individualism.
Sweet Crude is the story of how large oil corporations such as Shell and Chevron have absolutely decimated the Niger Delta, but the people are fighting back. The film shows the human and environmental consequences of 50 years of oil extraction against an insurgency of people who, in the three years after the filmmakers met them as college students, became the young of the Movement for the Emancipation of the Niger Delta (MEND). The movement is born after series of non-violent protests, and what the corporations and colonisers don’t understand is that these people will fight for their land and emancipation until the end. Sweet Crude is their story of survival and armed resistance against corrupt governments and rapacious corporate power, amongst a complicit and collusive mainstream media.
Filmmaker Damon Gameau embarks on a unique experiment to document the health effects of the average high sugar diet found across the dominant culture of globalisation. In the vein of Supersize Me, this film is Gameau’s personal journey as an indictment on the entire industrial food system–most interestingly and especially, the perceived ‘healthy’ foods laden with sugar, such as fruit juices, muesli-bars, and low-fat ‘health’ foods. There is an increasing awareness that we all live in an age of sugar, with the population of our planet consuming considerably larger quantities of sugar than ever before–especially as most of these sugars are hidden or otherwise purposefully obfuscated. There are links between this pervasive sugar diet to obesity and mental illness, as well as serious concerns about behaviour, addiction, emotional stability, and cognitive function. This film stirs the pot about all these issues, as a comprehensive investigation into the very concepts of modern consumerism pertaining to modern food.
An ex-pornstar, a 12 year old girl, and a 22 year old who yearns for the ‘normal’ genitals as seen in porn movies, are just some of whom are chronicled in Sexy Baby to draw together how the current relentless culture of pornography, social media and popular culture are deeply and profoundly affecting the lives women and girls. Based on intimate and candid conversations with kids in middle school classrooms, suburban shopping malls, nightclubs, college dorms, and high school house parties, the film chronicles trends among small town and big city kids–the pervasive culture affects everyone, everywhere. Most youngsters know someone who has emailed or texted a naked photo of themselves. Many kids have accidentally or intentionally had their first introduction to sex be via hardcore pornography online. Facebook has created an arena where kids compete to be “liked” and constantly worry about what image to portray. Much of what was once private is now made public. The list goes on. Sexy Baby is a powerful indictment of the Internet age and the hyper-sexualised culture affecting women and girls everywhere, as well as an insight into the struggle of parents navigating this new culture, wanting what is best for their kids and the generations to come.
Would any sane person think dumpster diving would have stopped Hitler, or that composting would have ended slavery or brought about the eight-hour workday; or that chopping wood and carrying water would have gotten people out of Tsarist prisons; or that dancing around a fire would have helped put in place the Voting Rights Act of 1957 or the Civil Rights Act of 1964? Then why now, with all the world at stake, do so many people retreat into these entirely personal “solutions”? Why are these “solutions” not sufficient? But most importantly, what can be done instead to actually stop the murder of the planet?
What do you get when you combine the culture of screens with the society of the spectacle, pervasive individualism with its rampant loneliness, in a media environment awash in a culture of pornography, instant gratification and self-interested sexual impetuousness? An insight into the question could be perhaps explained through The Secret World of Tinder. Tinder is an ‘app’ for ‘smartphones’ that displays profile pictures of people that are near the phone. When couples are matched, they can text each other. Many call it “the sex button” and the app indeed has a reputation in the world of online dating. This short TV documentary attempts to explore what it means in today’s culture mediated by technology, as seen through the Tinder app, providing insights into the way some people think and feel about sex and relationships in the age of the technocracy.
Growing Up Trans explores how transgenderism and queer theory now in the mainstream has come to children—some younger than six years old. For just a generation ago, it was considered adults whom embarked on an arduous journey of physically changing their bodies or appearance with drugs, hormones and surgery; but today, many young children are seeking serious and new medical or chemical interventions, at younger and younger ages, in a culture of rampant post-modernism and individualism. Told from the perspective of parents, doctors, but perhaps most revealing of all, the kids themselves, Growing Up Trans reveals a sharp narrative that speaks to the concerns, struggles and choices of a new generation of young people, while also pressing at issues of the larger culture on the wider social scale.
Hot Girls Wanted is an up-close and personal view into the lives of several 18 to 25 year-old girls who are lured into the world of amateur pornography on the Internet. The film sets out to illustrate just some of the many ways the industry really works as opposed to how it appears, as well as providing an insight into the modern recruitment process—the pundits on the inside call it ‘The Game.’ And there are many tricks. According to the teens themselves, many come to porn by the promise of rich extravagant lifestyles, as well as fame and visibility. And while the money can be good for some, at least for a little while, that’s only a small part of the picture. The myths are many and there is a brutal reality of life in the industry, causing high turnovers of girls—once they cotton-on to The Game…
In March 1971, eight ordinary citizens broke into an FBI office in Pennsylvania, took hundreds of secret documents out, and mailed them to newspapers across the country to share them with the public. The group, calling themselves The Citizens’ Commission to Investigate the FBI, undertook the actions at a time where suspicions about systemic abuse and manipulation of social and political movements by intelligence agencies were running high in the context of the Vietnam war and 1960s counter-culture. In doing so, these citizens uncovered the FBI’s vast and illegal regimes, leading to insights about mass surveillance, intimidation, entrapment, and the use of provocateurs and informers for manipulation, and sabotage. Much of this would later go on to be known as part of a covert program called COINTELPRO that was run directly by J. Edgar Hoover to destroy social change movements—a history that is imperative to understand in the context of today…