Marseille, summer. Inès, a girl who returns to her home city, meets Slimane, a boy who doesn't even dream about other places. The story revolves around one week, each day marked by encounters of the two different cliques; a story which evolves around a basketball court of the neighbourhood.

When first viewing Zustand und Gelände, we might be under the impression it belongs to a well-known tradition of historical documentaries. Long shots, extremely slow all-round views, steady panning: the image patiently describes a series of urban sites and landscapes of the former German Democratic Republic (Saxony and Thuringia). Through highly elaborate arrangements of archives from different sources (police reports, survivors’ testimonies, administrative correspondence, and more), an o -screen voice establishes what these places set the stage for in March 1933: the Nazi concentration system and an elimination regime of all political opposition. Especially noteworthy, in this film, is the extremely attentive channelling towards still unknown times and geographies of the horror Hitler inflicted on the first victims: people with sympathies for communism, activists, trade unionists, socio-democratic journalists, and so on.

Strata of landscape, of tactile terrains, flow in their own time creating a poetic and meditative space. Inspired by Jorge Luis Borges’ Ficciones, scenes excerpted from memory are revisited and inscribed on paper. As the images are shuffled, emotional fissures emerge and retreat.

On the outskirts of Parisian council housing estates lies a vast wasteland that still retains its mysteries in this day and age, and serves as a refuge for people who, in their spare time, escape or are often ejected from their overcrowded dwellings. They form small, rather harmless bands, share their first secrets, build up their "treasures" and submit to strict rituals. The sanctity of their rebellions is underscored by initiation through blindfolded jumping and a blood test. An impossible love story is born between two members of the same clan, Dan, a beautiful, tomboyish girl, and Lucky, a sweet but feisty boy.

The ups-and-downs of daily life as a helicopter pilot in Sept-Iles, north of Quebec.

The crew of the isolated research station, Orpheus, are forced to confront the unknowability of each other and the hostile planet on which they reside.

This docu-dream is a story without words using the language of movement. Through a vivid and surreal landscape, each person encounters a series of distinct individuals and slowly rediscovers a larger collective body. Terrain is a dancing unison of difference. Our bodies bridge gaps between worlds, and with this we invent a new kind of non-verbal truth. This new interconnectedness propels us back to life again, essentialized by our shared sense of interbeing.

Explores Terrain Theory, a model for health that works in symbiosis with nature to promote wellness and healing, free of a corrupt and flawed medical paradigm.

Takes the viewer through the periphery of Amsterdam and shows the unadorned appearance of the city.

Terrain Vague is the documentation of a live sound work in the Scottish Borders. Showing how sound can re-energise derelict, non-spaces bringing them back to life. The film shows an abandoned cashmere factory in Hawick and the live recordings from a working mill in the same town.

A worker in a big city who feels uncomfortable around women meets a sex worker, and in an attempt to overcome his hesitations, he discovers his sexuality.

Interested in architecture and in contemporaries landscapes, Bertrand Lamarche has designed several projects relatives to the site embracing the J.F.Kennedy viaduct site in Nancy. On this archetypal non-place with its unfinished look and chaotic images that were shot the Terrain Vague project, mounted as a long tracking shot that accompanies the circular sweep of the nocturne landscape by the beam of a lighthouse. The artist created a photographic panorama, referring to primitive cinema, that he used to shoot the movie. The video is in fact a tracking shot along a looped picture, which evokes the movement of an automatic security camera.

Unable to make a career for himself as an Olympic runner or bike rider, Hector Heathcote joins up with a railroad company to help make the connections for America's first transcontinental railroad. His efforts are hampered by a trouble making bull. But in the end, Hector and the train engineer finally get the transcontinental railroad built and open for business.

Seeking to understand 'why they hate us', the US military adopts a new strategy of cultural awareness to win over the hearts and minds of the Iraqi and Afghan people. Controversy erupts when academics embed with combat troops and the war comes home to the university.

A meditation on water, "Terrain Ahead" is a hybrid analog-digital experimental documentary exploring the trajectory of human impact on coastlines in the United Arab Emirates. The film asks questions around visibility and invisibility, around what is and can be documented and shared and that which cannot.

Immaterial Terrain is a film made by Emily Richardson along a seven-mile stretch of the Suffolk coast between Sizewell nuclear power station and the mythic drowned city of Dunwich. Camera in hand, over the duration of a year Richardson repeatedly walked this coastline. These walks – pilgrimages and acts of protest – structure a film that documents a singular and fragile landscape at an uncertain moment. Plans to expand the nuclear power station at Sizewell will have a lasting impact on the environment.