War & Conflict
137 films
Civil War: The Untold Story—Death Knell of the Confederacy
Civil War: The Untold Story—A Beacon of Hope
Civil War: The Untold Story—Bloody Shiloh
Hitler: Uncovering His Fatal Obsession—Time Is Blood, 1942-1945
Hitler: Uncovering His Fatal Obsession—Barbarossa Unleashed, 1941
Fierce Battle of Kinmen for Peace
The Assassin
The Unbroken
War Art with Eddie Redmayne
Deception WWII
Deception WWII
Deception WWII
CRIMES THAT MADE HISTORY : Flight 571: The Acceptable Face Of Cannibalism
Undercover Asia : Ghost Ship
World's Greatest Ships S2
World's Greatest Ships S2
World's Greatest Ships S2
Tunnel & Echoes
World's Greatest Ships S2
World's Greatest Ships S2
Spotlights
War Documentaries
Some sacrifice countless lives for personal gain. Others, in the darkest and most fragile moments, reveal the noblest of virtues. From the abandoned remains of concentration camps, to journalists risking everything on the frontlines of the Middle East, to fractured peoples grappling with identity— these stories are haunting testimonies against the atrocities of humankind. Giloo presents five powerful documentaries that confront unhealed traumas. As long as pain persists, war cannot truly be over.
Forced to Flee. Refugee Documentaries
Exiles trapped day after day in concrete jungles. Border dwellers divided by three towering walls. Survivors of ethnic cleansing, still carrying the weight of loss. The world has never been fair—so where can those without a home find peace, safety, and dignity? Through the lens of documentary film, these displaced lives come into focus. They are no longer just cold statistics, but people with names, faces, and stories. In a year marked by upheaval, when the value of peace feels especially fragile, join Giloo in reflecting on the suffering of the stateless—and the greed that so often leads to tragedy.
.jpg&w=3840&q=75)
《戈巴契夫，幸會》 ：直搗強者靈魂的柔弱與遺憾，是荷索最大的善意
荷索紀錄片的獨特風格，在於通過多層次的視聽語言，呈現意義的曖昧性。他拒絕隱蔽式的觀察，質疑攝影機催生的事件真實性，以後設的旁白論述對平靜的視覺畫面進行反叛。然而，他鍥而不捨的辯證和探險，源於他對真實的追究。即使他鋪排敘事中的重要史實，但他的核心關懷並非事件本身，而是逃遁於歷史和攝影機景框之外的血肉之軀。
Giloo 選片 X 2024台灣國際女性影展｜這（不）是巴勒斯坦的__
2024台灣國際女性影展正式開跑。Giloo精選三部「這（不）是巴勒斯坦的__」單元作品，透過巴勒斯坦女性影人的視角，體驗半世紀來以巴衝突下平民的日常抵禦、夢境、奇想與憂傷。暴力絕不是通往和平的捷徑，跟隨鏡頭橫跨三個時代，回望從前與當下，人們為了自由堅毅不變的奮鬥身影。
.jpg&w=3840&q=75)
《我愛金正恩》：探問誰在演戲、誰在看戲？全球政宣時代的無解題
透過在北韓工作的亞歷山卓卡德班諾斯（Alejandro Cao de Benos，1974）的關係，西班牙籍的阿爾瓦羅・朗格利亞（Alvaro Longoria，1968-）成為第一個在北韓拍攝紀錄片導演。不像其他紀錄片工作者可以放心且自在的採集、運用訪談，朗格利亞首先面對的困境即是是否該相信眼前的一切？且必須核實比對這些見聞的真偽、意識形態，以及立場。
用你的回憶來告別：安妮華達《南特傑克》
《南特傑克》影片最後，安妮華達的鏡頭，著迷般地凝視著她丈夫傑克德米病榻旁那幅灰藍色的陰鬱畫作：一個男子拿著耙子，在海灘上清理著藻類的背影，透露出一股孤寂又靜謐的哀傷。熟悉德米作品的影迷，或許很難將他的電影代表作如《秋水伊人》及《柳媚花嬌》中的繽紛律動，和這幅晚年畫作聯想在一起。但對於在這部片中，伴隨著德米重返童年走了一遭的華達來說，卻可能是最完美的註腳。