Documentary Film

  1. Development aid distinguishes itself from relief aid through its structural character. But what is the lasting result of this structural approach? In the past many mistakes have been made. This documentary shows that a more personal approach with emphasis on the uniqueness of a culture leads to better results. This approach is highlighted by a nocturnal concert of Baaba Maal.

    Length: 42' - Year: 2008
    TV Channel: L1, GoedTV, Wereldomroep/BVN
    Festival: Scenecs, Culture Unplugged

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  2. *** My new series, This is Not a Conspiracy Theory, is now live: ***

    An exploration of the remix techniques involved in producing films. Part two of a four-part series.

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  3. Stronger+One Last Rep follows Pacific Northwest bodybuilder David Patterson and explores what it means to commit a life to a single sport. Something happens in an athlete's life that overwhelmingly compels that person to make themselves stronger, no matter the cost. However, every athlete must face the day when their commitment is no longer physically possible.

    This film has the following honors
    Winner, Best Short Documentary - All Sports Los Angeles Film Festival 2013
    Winner, Audience Choice - All Sports Los Angeles Film Festival 2013
    Official Selection - Seattle True Independent Film Festival 2014
    Featured - Ironman Magazine
    Vimeo Staff Pick

    For more information about the film please see

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  4. Punchlines for Progress assembles some of the best American political satirists to highlight the power and importance of the court jester. From the Red Scare through today this tradition continues to inform and speak truth to power. Featuring Amy Goodman, Lenny Bruce, George Carlen, Jon Stewart, Steven Colbert, and Marten Luther King Jr. among others.

    This is a “Mash Up” documentary, a reflexive art form that allows the artist to create their own ‘meaning’ out of media based cultural artifacts. This video collage technique helps people to surpass passive consumption by becoming active producers of media. Through the act of reappropriating, recontextualizing, and remixing, media awareness becomes less of a bombardment and more of a game. Lawrence Lessig suggests that remix is “the modern day equivalent of quoting authors in papers and books. He argues, “It is a type of literacy… a form of expression that is increasingly defining young generations!” This language of remix is a digital call and response culture where source material is recycled repeatedly to expand on ideas and provoke further social discourse.

    Comedians are true remix arts. Through imitation and reinterpretation they allow us to look at the world from their perspective. Weather it be racism or religion, stand-comedians have opened doors for our first amendment rites by reveling in our cultural taboos. In Punchlines For Progress I am merging the art of the satirists in American culture with the experimental stile of Internet remix artists. I’m interested in the rebellious tendencies of both art forms and their attempts at disseminating alternative socio-political commentary to the masses through nontraditional methods. Both have histories of confronting the law very openly. Both push social boundaries and have the ability to inform and transform American culture, and both have been described as symptoms of its decline. What is so frightening about theses methods of self-expression? What positive contributions do they offer and how are they changing the way we communicate?

    This film falls under the Copyright act of 1976 that allows people “Fair Use” of any public footage when used for social commentary and criticism. It was created during my studies at university with much forethought into the democratization of media. It is not intended to lessen the importance of copyright laws. Instead it is meant to level the playing field of public discourse by utilizing the worlds largest digital library. This doc is 46min long, cut from 400 hours of footage and around 100 sources with proper credits given to the materials used.

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  5. This film is a portrait of Bojan, a young man with a passion for graffiti and hip-hop. Bojan was born in Split, Croatia. He lost his father during the civil war and escaped with his mother and sister to Serbia. When he was 11 his mother died and he was put in an orphanage. At the age of 18 he became homeless and lived on the streets of Belgrade.

    He was 21 when he died from an overdose, one year after this film was shot.
    BOJAN RAPRESENT (29.05.1988-11.06.2009)

    “A rare totally authentic, no nonsense documentary etude of the highest order about a young, self-destructive graffiti artists living in the streets of Belgrade, homeless, but never hungry; there is a heartbreaking thing or two to be learned about eating food from garbage containers and telling it with disarming honesty and yes, even charm, straight to the camera. Not to be missed!” - curator of SEE Festival LA

    Major screenings:
    Premiere at London International Documentary Film Festival LIDF
    Rotterdam Film Festival
    South Easter European Film Festival, LA
    NXNE Film @ Music Festival, Toronto
    International Woman’s Film Festival, Cologne, Germany
    Canary Wharf Film Festival, London , UK

    BEST STORY FILM award from audience at FILM FOR PEACE Festival, Italy
    Best National Award at XVIII International Festival of Ethnological Film Belgrade Serbia

    Other Festivals:
    THESS SHORT FILM FESTIVAL, Greece; Uno Port Art Films Festival, Japan; A Film for Peace Festival, Italy; Gottingen Ethnographic Film Festival, Germany;WordFilm Festival, Tartu, Estonia ; Kratki Metar Festival, Belgrade, Serbia; Astra Festival, Sibiu, Rumunia; Kino Kriterion, Sarajevo, Bosnia;Balkan Festival, Moscow, Russia;Canary Wharf Film FEstival, London , UK; Balkan Snapshots Festival, Amsterdam

    directed by Ivana Todorovic
    camera Ivana Todorovic
    edited by Goran Mijic
    music by Milos Dabic
    animation by Nebojsa Petrovic and Bojan Rapresent
    sound design Milan Mihajlovic

    # Uploaded 23.4K Plays 16 Comments

Documentary Film

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