Sovereigns and their suite passing in front of the monument to Victor Emmanuel II in Sassari.

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The documentary depicts monuments and heritage artwork that have been closely related to the history of the Republic of Estonia. Estonian sculptors, former political prisoners, social scientists and art historians share their memories in the film. Why do we need our monuments? What kind of attitude has been towards Estonian monuments and heritage artwork during the changing times in local history? Memorial columns can be victims of ideology. Estonia has been governed by several state authorities during the 20th century, all of them have left their own monuments. The destiny of numerous military monuments in East-Europe has become a current issue.

In 1999, as Israel's occupation of southern Lebanon crumbles, architect Yacov Rechter is commissioned to build a soldiers' memorial. His son Amnon urges a monument for all war victims instead.

In the fall of 1967, intermedia artists Ture Sjölander and Lars Weck collaborated with Bengt Modin, video engineer of the Swedish Broadcasting Corporation in Stockholm, to produce an experimental program called Monument. It was broadcast in January, 1968, and subsequently has been seen throughout Europe, Asia, and the United States. Apart from the technical aspect of the project, their intention was to develop a widened consciousness of the communi - cative process inherent in visual images. They selected as source material the "monuments" of world culture— images of famous persons and paintings.

The film tells the story of a key figure associated with the Brazilian medium Chico Xavier: the spirit Emmanuel, also known as his mentor.

Mark Palmerton and his brother, Steve, are loud, crazy guys who have a passion for turning two thousand degree molten bronze into some of America's most powerful statues and monuments for parks, museums, universities, and even Ground Zero. This show follows the brothers as they research, design and mount new projects, and restore those in need of a facelift.

Viesturs Kairišs’ 2004 documentary The Monument investigates the interpretation of Riga’s Soviet Second World War memorial in the post-Soviet era. The "Victory Monument" was established by the Soviets to celebrate freeing Latvia from Nazi Germany. However, for Latvians, this didn't mean "freedom", it meant the beginning of another occupation of their country - this time, by Soviet Union.

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