Anastasia Trofimova gains unprecedented access to follow a Russian Army battalion in Ukraine. Without any official clearance or permits, she earns the trust of foot soldiers and over seven months embeds herself with the battalion as it makes its way across the frontlines.
What she discovers is far from the narratives propagated by the East or West: a war cutting through family and historical ties, soldiers disillusioned and often struggling to understand what they are fighting for.
For 80 years, the UN Security Council permanent member veto power has been the subject of constant debate, within the UN and without.
The veto itself isn’t going away—it’s ‘veto-proof’. But when vetoes are cast in the face of genocide, war crimes, and crimes against humanity, obligations under international law and the UN Charter must be considered. Such veto uses have led to massive loss of life, displacement of millions, and the multilateral order pushed to a breaking point.
This film, featuring leading global experts and ongoing situations affected by the veto including Gaza and Ukraine, puts aside ‘the impossibility of change’ and explores real paths to breaking the Security Council deadlock.
At the height of the cold war, broadcaster ABC set about making a made-for-TV movie about the effects of a nuclear bomb on the ordinary American people, little knowing the obstacles and opposition they would face during its production, and the eduring impact it would have once broadcast – both in the US and in Russia.
With irreverent humor and sobering apocalyptic vision, Television Event reveals how a commercial broadcaster seized a moment of unprecedented television viewership, made an emotional connection with an audience of over 100 million and forced an urgent conversation with the US President on how to collectively confront and resolve the most pressing issue of the time – nuclear proliferation.
They narrowly succeeded in producing the most watched, most controversial made-for-TV movie ever, THE DAY AFTER (1983), that may also have played a part in averting nuclear war.
In December 2006, the UN Security Council unanimously passed landmark Resolution 1738 which demanded greater safety for journalists in conflict areas and called for an end to impunity for their killers. Since the UN resolution was passed, over 600 news media workers have been killed, while more have been imprisoned or have simply disappeared while on the job. Countless others have been intimidated into self-censorship or have gone into exile.
If no story is worth a life, then why is murder the number one cause of journalists’ deaths worldwide?
Murder is the leading cause of work related deaths for journalists as censorship increases worldwide. In addition to those who have been killed, dozens have been attacked, kidnapped, or forced into exile in connection with their coverage of crime and corruption.
Journalists reporting from Mexico, Russia and the conflict zones of Iraq, Afghanistan and Syria tell their personal stories of kidnapping, intimidation, and beatings. They’ve experienced the loss of colleagues in the field and have been close to death themselves. Their stories are heartfelt, captivating, engaging and at moments – unbelievable.
The targeting of Journalists worldwide affects anyone who believes that information and accurate reporting play a part in healthy societies.
Awards:
2015: The Edward R. Murrow Award, from The Radio Television Digital News Association, recognising excellence in electronic journalism.
2015: National Headliner Award, recognising journalistic merit in the communications industry.
In 1988, Olivier Brodard -a twenty one year old idealist- made a six-month humanitarian trip to Afghanistan under Soviet occupation with $50,000 in his backpack destined for the local populations.
Entering illegally via Pakistan Olivier, along with his friend Paul Castella, made the arduous journey on foot, camel and tank to the Pansir Valley. They met commander Massoud and shared the daily life of the afghan people witnessing first hand the front line of the Afghan battle against the Soviet Union.
When Olivier reluctantly returned home to Switzerland, he had a terrible car accident. After weeks in a deep coma, he woke up with severe amnesia and the new challenge of rebuilding his life.
With the help of his detailed diaries and photographs taken at the time, Olivier attempts to explore his memories and recover a part of his own identity that had been lost.
Afghan Memento tells the story of a fearless journey made by two men in their prime, but more than that, it is an elegant rendering of where our experiences, memories and identity intersect.