Seaview is a 2007 documentary film directed by Nicky Gogan and Paul Rowley. The film chronicles the lives of a group of asylum seekers living in the former Butlin's Holiday Camp at Mosney, Ireland. The film takes an innovative approach to the use to sound and image in telling the stories of the Mosney residents. This has much to do with the past work of the directors, which has been focused on video art and gallery installation projects.
The film premiered in the Forum section of the 2008 Berlin Film Festival and has since shown at many festivals internationally, including Hot Docs in Toronto, Silverdocs, Sheffield Doc-Fest, and the Rio de Janeiro and São Paulo Film Festivals. The film was nominated in the best feature documentary category at the 2009 Irish Film and Television Awards (IFTAs).
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, 1h59 Directed byShari Robertson, Michael Camerini OriginUSA GenresDocumentary ThemesFilms about immigration, Documentary films about law, Documentaire sur une personnalité Rating73% On average, only one in two hundred asylum applicants is ever admitted as a refugee to the U.S. A refugee is defined as someone afraid to return home for fear of persecution on account of race, religion, nationality, social group or political opinion. Any foreign citizen who is able to find a path into the U.S. is eligible to apply for refugee protection in the form of political asylum. At the time of filming, the former Immigration and Naturalization Service (INS) handled all requests for asylum.
Hichem has dreamt with "harga" since he was a child. One day he set forth on the sea towards Europe, on the grand forbidden voyage in a precarious open boat with 27 other Tunisians, some of whom were his friends. Hichem is the only one who has come back. Other Tunisians tell us why they want to leave their country: poverty, unemployment, no hope for the future, trapped in a dead end. They are ready to do anything to improve their situation, and that includes risking their lives.
In 1939, the end of the Spanish Civil War forced thousands of men, women and children to flee Francoist Spain. The French administration in Algeria opened refugee camps to take them in. Seventy years later, a young Algerian investigates the past. Despite the absence of archives and files, the traces of these camps have survived the collective oblivion and still appear in current Algeria.
Morocco receives many emigrants whose ultimate destination is Europe. About a thousand of these migrants hold a political refugee card from the United Nations High Commissioner for Refugees Agency (UNHCR). However, even those with this card face challenges.
, 1h16 OriginUSA GenresDocumentary ThemesFilms set in Africa, Films about immigration, Documentary films about law, Documentary films about war, Documentary films about historical events, Documentaire sur une personnalité Rating71% In 2006, producer/director Lisa F. Jackson travelled alone to the war zones of the Democratic Republic of the Congo documenting the plight of women and girls impacted by the conflicts there. She was "afforded privileged access" to the realities of life in Congo, and found "examples of resiliency, resistance, courage and grace". In a 2008 interview with NPR, Jackson said "I knew going to eastern Congo as a white woman alone in the bush with a video camera that I might as well have landed from a spaceship." Jackson had been a victim of gang rape thirty years earlier, and shared this experience with the survivors she interviewed. Much of the film features these women recounting their stories, which have left them "traumatised and isolated - shunned by society and their families, and suffering life-long health effects, including HIV." Context and background are discussed in interviews with doctors, politicians, peacekeepers, activists and priests. Jackson visits a clinic devoted to treating women with traumatic injury due to sexual violence, particularly cases of vesicovaginal and rectovaginal fistula. In addition, Jackson went out into the bush to interview some of the perpetrators, soldiers who spoke without apparent conscience about the women they had raped, and their often bizarre justifications. "You really can say that there's a culture of impunity in the Congo, where none of these men will face arrest for what they've confessed to me on videotape," Jackson noted. The focus of the film, though, is the stories of the victims, "who just poured their hearts out to me with these stories, including over and over again, please take these stories to someone who will make a difference.