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Ulrich Seidls follow wealthy tourists going on safari to kill often endangered species. Some determinedly searching for trophies, others to enjoy. Even if every prey comes at a price., they always find a way to legitimize their own actions.

Jackson Heights, Queens, New York City is one of the most ethnically and culturally diverse communities in the United States and the world. There are immigrants from every country in South America, Mexico, Bangladesh, Pakistan, Afghanistan, India and China. Some are citizens, some have green cards, some are without documents. The people who live in Jackson Heights, in their cultural, racial and ethnic diversity, are representative of the new wave of immigrants to America. 167 languages are spoken in Jackson Heights. Some of the issues the film raises-assimilation, integration, immigration and cultural and religious differences-are common to all the major cities of the Western world. The subject of the film is the daily life of the people in this community-their businesses, community centers, religions, and political, cultural and social lives-and the conflict between maintaining ties to traditions of the countries of origin and the need to learn and adapt to American ways and values. This is Frederick Wiseman's third film about communities, the others being ASPEN and BELFAST, MAINE. In these films, as in all his films, he is trying to present a broad and complex portrait of contemporary life.

With minimal narration by the director and very little context this is a kaleidoscope of stunning visuals from Calcutta, a city of 8,000,000 in the late 1960's: rich and poor, exotic and mundane, secular and religious, children and adults, animate and inanimate. Given only the images, the viewer can read any meaning she or he wants into the film.

In 1962 Hitchcock and Truffaut locked themselves away in Hollywood for a week to excavate the secrets behind the mise-en-scène in cinema. Based on the original recordings of this meeting-used to produce the mythical book Hitchcock/Truffaut-this film illustrates the greatest cinema lesson of all time and plummets us into the world of the creator of Psycho, The Birds, and Vertigo. Hitchcock's incredibly modern art is elucidated and explained by today's leading filmmakers: Martin Scorsese, David Fincher, Arnaud Desplechin, Kiyoshi Kurosawa, Wes Anderson, James Gray, Olivier Assayas, Richard Linklater, Peter Bogdanovich and Paul Schrader.

In Chile's Atacama Desert, astronomers peer deep into the cosmos in search for answers concerning the origins of life. Nearby, a group of women sift through the sand searching for body parts of loved ones, dumped unceremoniously by Pinochet's regime.

Patricio Guzmán left Chile more than 40 years ago when the military dictatorship took over the democratically-elected government, but he never stopped thinking about a country, a culture, and a place on the map that he never forgot. After covering the North in Nostalgia for the Light and the South in The Pearl Button, his shots get up-close with what he calls "the vast revealing backbone of Chile's past and recent history.

Wim Wenders talks with Japanese fashion designer Yohji Yamamoto about the creative process and ponders the relationship between cities, identity and the cinema in the digital age.

Chantal Akerman, the Belgian filmmaker, lives in New York. Filmed images of the City are accompanied by the texts of Chantal Akerman's loving but manipulative mother back home in Brussels. The City comes more and more to the front while the words of the mother, read by Akerman herself, gradually fade away.

Introduction to Sociology. For three years (1998-2001) Pierre Carles followed Pierre Bourdieu, a major sociologist, working to have his research understood and people prompted to action. Sociology is a fighting sport, not an intellectual technical tool for the elite to validate their choices. People need sociology to understand the growing inequalities and fire back, find their way out of the all-economic fatalism.

An intimate, picaresque inquiry into French life as lived by the country's poor and its provident, as well as by the film's own director, Agnes Varda. The aesthetic, political and moral point of departure for Varda are gleaners, those individuals who pick at already-reaped fields for the odd potato, the leftover turnip.

Trials tribulation dreams and aspirations of a young farmer earning a living making and selling charcoal in Congo.

During the '35th Cannes International Film Festival' (14th-26th May 1982), German director

A look at life in Eastern Europe after the collapse of the Soviet Union.

Agnes Varda, one of the leading lights of France's honored French New Wave cinema era, and professional photographer and muralist, J.R., partake on a special art project. Together, they travel around France in a special box truck equipped as a portable photo booth and traveling printing facility as they take photographs of people around the country. With that inspiration, they also create special colossal mural pictures of individuals, communities and places they want to honor and celebrate. Along the way, the old cinematic veteran and the young artistic idealist enjoy an odd friendship as they chat and explore their views on the world as only they can.

A Tarkovskian dream-like landscape, featuring the inhabitants of a Turkish retirement home where pranksters, artists and old casanovas seduce us to confront the true nature of time.

New York City's Monterey is a residence hotel; the residents we see are older, most live alone. The camera, usually stationery, begins with a look into the lobby. The film ends with a panorama from the hotel's rooftop. There's no soundtrack. The lobby is clean with granite floors. Men wear hats. People enter and exit an elevator. The camera looks out from within the elevator as doors open and close. People sit alone and motionless in their apartments. There are long shots of empty halls. Paint peels. The flooring on upper levels is linoleum. Hall lights are florescent. Doors open a crack then close. The film provides the feeling of what it's like to live there.

French essay film focusing on global political turmoil in the 1960s and '70s, particularly the rise of the New Left in France and the development of socialist movements in Latin America.

Chris Marker and Pierre Lhomme's LE JOLI MAI (The Lovely Month of May) is a portrait of Paris and Parisians during May 1962, the first springtime of peace after the ceasefire with Algeria and the first time in 23 years that France was not involved in any war.