Film about the 10th Olympic Games in Grenoble in 1968. Using a subjective camera, Ertaud and Languepin take the pulse of the Games, cutting out the eyes and slowing down the movement when necessary. The dominant figure at the Grenoble Winter Games is Frenchman Jean-Claude Killy, whose three gold medals matched Toni Sailer's 1956 feat. The filmmakers bet on his winning streak, and include commentary from him as he prepares for each race. Another athlete, Marielle Goitschel, is treated insightfully on screen and wins the women's slalom. Ice dancing fans will appreciate the coverage of winner Oleg Protopopov and his partner Ludmila Belousova. President Charles De Gaulle was present for the spectacular Opening Ceremony.

Documentary footage (from the 1950s) and accompanying commentary to attempt to answer the existential question, Why are our lives characterized by discontent, anguish, and fear? The film is in two completely separate parts, and the directors of these respective sections, left-wing Pier Paolo Pasolini and conservative Giovanni Guareschi, offer the viewer contrasting analyses of and prescriptions for modern society. Part I, by Pasolini, is a denunciation of the offenses of Western culture, particularly those against colonized Africa. It is at the same time a chronicle of the liberation and independence of the former African colonies, portraying these peoples as the new protagonists of the world stage, holding up Marxism as their "salvation", and suggesting that their "innocent ferocity" will be the new religion of the era. Guareschi's part, by contrast, constitutes a defense of Western civilization and a word of hope, couched in traditional Christian terms, for man's future.

Chris Marker’s A Grin Without a Cat is an epic political essay tracing the rise and decline of the global left from the 1960s to the 1970s. Through archival footage and commentary, the film examines revolutionary movements in France, Latin America, and beyond, reflecting on the ideals, failures, and fading hopes of a generation.

The third film of Frank Capra's 'Why We Fight" propaganda film series, dealing with the Nazi conquest of Western Europe in 1940.

A six-part French documentary about the Second World War composed exclusively of actual footage of the war as filmed by war correspondents, soldiers, resistance fighters and private citizens. The series is shown in color, with the black and white footage being fully colorized, save for some original color footage. The only exception to the treatment are most Holocaust scenes, which are presented in the original black and white.

At the sea shore, a goat, a child, and a naked man. This is a photograph taken in 1954 by Agnès Varda. The goat was dead, the child was named Ulysses, and the man was naked. Starting from this frozen image, the film explores the real and the imaginary.

An attempt to reconstruct the complete version of Pier Paolo Pasolini's segment of La rabbia.

Candid interviews of ordinary people on the meaning of happiness, an often amorphous and inarticulable notion that evokes more basic and fundamentally egalitarian ideals of self-betterment, prosperity, tolerance, economic opportunity, and freedom.