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This year\u2019s selection demonstrates the vastness of the documentary genre, the value of its past and the possibilities of its present, and it brings together works that are seemingly distant in nature. The profession of documentary filmmaker is a dangerous one, a participatory narrative full of pitfalls: we discover this with Schroeder<\/strong>, an intrepid witness of the dictatorship in Uganda; with Roemer<\/strong> and his portrait of mafia violence; with Labudovi\u0107<\/strong>, sent by Tito to fuel \u2013 through cinema \u2013 the anti-colonial struggle in Algeria.<\/p>\n Documentary is anchored in reality; it tells us about the greatest social revolution of the last century, that of women, through the brilliant portraits of three female artists (the orchestra conductor Antonia Brico<\/strong> and two pioneers of cinema, Dorothy Arzner<\/strong> and Agn\u00e8s Varda<\/strong>) and the unstoppable struggle for visibility of homosexuality in cinema. Documentary is an instrument of self-analysis through which cinema narrates itself, its own language; we explore the origins of the \u201ccinematic truth\u201d\u00a0genre starting with the archives of Robert Flaherty, we retrace the Mexican period of Eisenstein, we immerse ourselves in the fluid gaze of Ghezzi, and we rediscover Godard\u2019s legendary Canadian lessons. Cinema talks about cinema; cinema talks about us.<\/p>\n