Presentation on South Africa and Nelson Mandela to a group of foster children in Pittsburgh.

Winner of the World Cinema Grand Jury Prize Documentary at Sundance, A River Changes Course tells the story of three families living in contemporary Cambodia as they face hard choices forced by rapid development and struggle to maintain their traditional ways of life as the modern world closes in around them. "Director Kalyanee Mam follows these families and their distinctive ways of life with her eyes wide open.

Director Keir Moreano's record of his father's experience as a volunteer doctor in Vietnam in 2003 as a journey of a professional who has come to question the difference he makes in the lives of his patients in the US, finding renewed passion in his calling after several weeks conducting surgeries and training staff in a hard-pressed hospital in Hue. "The film observes Dr.

The 2012 film is the true story of how Chile’s “Mad Men” fought dictator Augusto Pinochet with happiness. Winner of the Art Cinema Award at the Cannes Film Festival and nominated for Best Foreign Language Film at the Oscars, this Chilean film has also been recognized worldwide and received the Award for Justice at the distinguished Cinema for Peace Awards.

Filmmaker Sam Bozzo examines the growing battle over control of the global water supply in the documentary Blue Gold: World Water Wars. The film examines how major corporations and financial institutions are buying up territories where large water supplies can be found, the fight to protect the Great Lakes, allegations that one of the world's most powerful political families is attempting to corner the market on water in Paraguay, and what ordinary citizens can do to keep the water supply free and shared fairly by all.

This talk considers the low‐brow Hindi film *Disco Dancer *(Babbar Subhash, 1982) in terms of its seminal retooling of narrative, thematic, and star practices of Hindi cinema to accommodate new flows of international popular culture, specifically the “disco sensibility.” In its participation in a complex citational network of plagiarism, homage, and adaptation, the film is particularly seminal in its domestication of disco into a melodramatic mother‐centered narrative and its formal experimentation as it struggles to construct a cinematic language adequate to disco.