Bizimkiler (Ours, Our People) was a Turkish drama, represented the lives of the people shared the same neighborhood. It is one of the longest-running series in Turkish television drama history.

Raghunath is the only working member of his family living with his father, his wife Janaki and two children Anand and Rani, his family is more demanding towards him than his income but his wife controls everyone expenses and teaches them how to live in a small income.

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In 1904, the Kazakh wrestler Hajja Mukan, inspired by the successes of the Russian hero Ivan Poddubny, the world champion in French wrestling, decided to perform on the big stage.

Legendary documentary filmmaker Alanis Obomsawin provides a glimpse of what action-driven decolonization looks like in Norway House, one of Manitoba's largest First Nation communities.

The village of Old Crow and the people from the Vuntut Gwitchin First Nation are located on the banks of the Porcupine River 80 miles inside the Arctic Circle. The film shows the lifestyles and spirit of the people of Old Crow, reflected in the writings of Gwich'in Edith Josie and the stories told by Elder Kenneth Nukon. Alanis Obomsawin wanted to document life in the community before the proposed Mackenzie Valley Pipe line was to go through. "Everything will be changed -- it will never be the same again".

An agoraphobic video blogger gets romantically involved with her delivery guy.

Obomsawin narrates as children learn of the traditions and life of Gabriel, a Cree boy from Fort George, James Bay. The Northern Cree "Walking Out Ceremony" is one such tradition. This is followed by scenes of Gabriel touring Old Montreal.

Intended for school leavers, the promotional film shows the vast range and variety of jobs available within the British Civil Service, highlighting the ways in which civil servants help individuals, the community in general and Parliament.

People is a film shot behind closed doors in a workshop/house on the outskirts of Paris and features a dozen characters. It is based on an interweaving of scenes of moaning and sex. The house is the characters' common space, but the question of ownership is distended, they don't all inhabit it in the same way. As the sequences progress, we don't find the same characters but the same interdependent relationships. Through the alternation between lament and sexuality, physical and verbal communication are put on the same level. The film then deconstructs, through its repetitive structure, our relational myths.