Ahogyan az a klasszikus westernekben történni szokott, ellenséges családok harcolnak egy darab földért. James McKay - a Baltimoreból érkezett idegen feleségül akarja venni egy marhabáró lányát. Mint keleti úriember nem szereti az erőszakot, hiába gúnyolja ezért menyasszonya és a munkavezető is. Végül erőszak nélkül sikerül megvennie a tanítónőtől a környék egyetlen marhaitatóját, amely miatt ősi háború folyik apósa és annak szomszédja között. Az öregek nem tudják elfogadni a kompromisszumos megoldást és emberrabláshoz, párbajhoz folyamodnak, amelyben mindketten meghalnak. McKay magatartásának hatására azonban az új nemzedék már békésen rendezi vitás ügyeit.
Wyomingot és környékbeli farmokat rettegésben tartja a kegyetlen Rufe Ryker és bandája. A környéken már annyira elfajult a helyzet, hogy semmiféle idegenben nem bíznak már meg. Így eleinte a Starrett család sem fogadja túláradó örömmel a felbukkanó Shane-t, aki azonban értékes segítségnyújtásával és farmgazdaságban való járatosságával rácáfol a kezdeti bizalmatlanságra. Shane titka azonban abban rejlik, hogy békére és nyugodt életre vágyik, így próbál elmenekülni portyázó múltjától. Egy napon azonban felkavarodik az állóvíz a boldogan élő Shane körül. Felbukkannak ugyanis Ryker emberei és hadat üzennek a Starrett családnak, megígérvén, hogy mindenükből kifosztják őket. Ezt már Shane sem nézheti tétlenül.
Ódon kastély, mániákus várúr, szenvedő asszonyok és fiatal szerelmes. A várúr lassan beleőrül abba a gondolatba, hogy nem lesz fiúörököse, és a családi vagyon a kastéllyal együtt idegenekre száll. A lányát is idegennek tekinti, mert nem az ő nevén fogja élni az életét. Feleségét rejtélyes módon megöli. Helyébe a nevelőnőt, távoli rokonát, az istenfélő leánykát emeli. Azonban amikor az új asszony életképtelen fiút hoz a világra, újra gyilkosságra készül. Ekkor azonban közbelép a fiatalasszony hódolója.
The Australian Aborigines (in this film anyway) believe that this is the place where the green ants go to dream, and that if their dreams are disturbed, it will bring down disaster on us all. The Aborigines' belief is not shared by a giant mining company, which wants to tear open the soil and search for uranium.
In this era of “reconciliation”, Indigenous land is still being taken at gunpoint. Unist’ot’en Camp, Gidimt’en checkpoint and the larger Wet’suwet’en Nation are standing up to the Canadian government and corporations who continue colonial violence against Indigenous people. The Unist’ot’en Camp has been a beacon of resistance for nearly 10 years. It is a healing space for Indigenous people and settlers alike, and an active example of decolonization. The violence, environmental destruction, and disregard for human rights following TC Energy (formerly TransCanada) / Coastal GasLink’s interim injunction has been devastating to bear, but this fight is far from over.
Mark and Dan Jury document the gradual demise of a community nestled within the Cuyahoga National Recreation Area between Akron and Cleveland, Ohio, as the National Park Service works to acquire the land of ~500 residents in order to establish a National Park. After initially being told only a handful of houses would be taken, residents are shocked by hundreds of homes and businesses being bought up, boarded up, and posted No Trespassing - and by the homes of the politically connected being spared. Significant portions of this film appeared in the PBS FRONTLINE episode For the Good of All.
About Aborigines and Australian politics. On 13 March 1978 the Queensland Government announced its intention to take over management of the Aurukun Aboriginal Reserve from the Uniting Church. The people of Aurukun complained bitterly, believing that the Church was more sympathetic to their aims and fearing that the State was merely seeking easier access to the rich bauxite deposits on their Reserve. When the Federal Government took the side of the Aborigines the stage was set for national confrontation. Shows the situation at Aurukun during those crucial three weeks.
White people don't understand that there are two laws - white people have different laws from Aboriginal people. TWO LAWS is a film about history, law and life in the community of Borroloola in far North Queensland. The films offers viewers a remarkable and different way of seeing and hearing. Like the film, BACKROADS, it is one of the few productions at that time in which Aboriginal people had creative input. The impetus for TWO LAWS came from the community themselves. There was substantial collaboration with the film makers before and during the shooting period. It is one of the most outstanding films to be made during the 1980s. It is an historical analysis of what, nearly forty years later, is an increasingly contemporary question. Two Laws.
A Royal Canadian Mounted Police sergeant must mediate a land rights dispute between an advancing railroad construction gang and French Canadian trappers in the rugged Northwest Territory of Canada.
Ranger Bill Kennedy rescues Mildred from the clutches of wicked rancher 'Black' Muller.
This silent Western featured a group of Basque settlers terrorized by a greedy land baron (Joseph W. Girard). Jones played Buck Kildare, who, after falling for Basque beauty Natalie Joyce, comes to the aid of the settlers. On his sterling horse Silver, Kildare goes after the villain, who, it turns out, is the very same man who murdered his brother Tom (William A. Steele).
The daughter of a lumber man disguises herself and gets hired as the secretary of her father's rival.
A documentary account by award-winning filmmaker John Ferry of the events that led up to the 1969 Native American occupation of Alcatraz Island as told by principal organizer, Adam Fortunate Eagle. The story unfolds through Fortunate Eagle's remembrances, archival newsreel footage and photographs.
A worn-out floor, the hole underneath, a political activist, and the Ouled Sbita tribe are the protagonists in this political satire. For 23 years, the director’s chair at an international art institute scratched the wooden floor. This 102cm x 120cm floor section is cut out and sent to an expropriated piece of land in Morocco. In The Hole’s Journey, Ghita Skali uses sharp wit, personal stories and playful editing to touch on specific power dynamics and freedom of choice.
A group of teenagers go out to a den in the woods for a night of drinking, unaware that their behaviour touches on issues of ritual, folklore, mysticism and UFOs.