The first blitzkrieg, Hitler's invasion of Poland, is traced in this original Nazi propaganda film from 1940.

Bogus Kowalski is such a radical 17-year-old rebel that he even decides to have a "F*ck Off" tattoo on his forehead. His anger and frustration cannot be diminished by anyone, including his mother, Polish teacher and priest.

Broadcast live via satellite around the world on January 31, 1982, this special produced by the US International Communication Agency protesting the then recent imposition of martial law in Poland. Hosted by Charlton Heston, Max von Sydow, and Glenda Jackson, the program features multiple celebrity appearances, speeches by 21 world leaders, and several contributions Polish artists and intellectuals.

So close, yet so far. Although a bit exaggerated, this can be said about Poles and Czechs – neighbours and related nations. This powerful film builds on the contradictions of two worlds: Czech atheists vs. the exotic reality of a Catholic country. There is no shortage of amusing scenes. The filmmakers address passers-by, nuns, employees of the anti-Semitic Radio Maryja, a priest accused of sexual harassment, and an exorcist. Karel not only becomes an explorer who seeks to find the truth about Polish faith, but at another level also a pilgrim who, through the “path to film” wants to find faith himself. Last but not least, the documentary asks what has happened to Poland in recent years? Why is it as internally divided as Czechia?

This brief portrait follows 28-year-old campaign manager John Grenier as he maps out strategies for Barry Goldwater’s 1964 presidential run and engineers a takeover of the Republican convention.

Three filmmakers compete to win a commercial campaign for the "Jall!" bathing suit line.

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Follow Australian politician Paul Keating's 1996 election campaign told from the perspective of Santo Cilauro who traveled in the media pool.

The Red Hot Chili Peppers recorded live in Poland 2007. Stadion Śląski, Chorzów, Poland July 03, 2007.

FAR FROM POLAND is probably the first American non-fiction film (Godmilow calls it a "drama-tary") to explode cinema verite's mythic claim to be the only trustworthy mode of representation for discussing the real world, and in particular, social and political issues, on film. Refused a visa to travel to Poland, "Jillski" (her Polish nickname in the film) has to literally re-invent the documentary to deal with the Polish situation and she does so with a particular eye to deconstructing not only documentary's specific claims to objectivity, but also the bourgeois audience's desire to sit comfortably in their seats, feel compassion, feel themselves part of the solution (not part of the problem) by having felt compassion for the poor oppressed Poles, who, Godmilow would argue, are far more acutely aware of their situation and what forces oppress them than the liberal American folk in the movie house.