Children for sale
In Afghanistan, where the return of the Taliban has plunged millions of families into hunger, some parents have no other choice but to sell their daughters to the highest bidder.
Brut. (2022). Directed and filmed by Nadege Justiniani, edited by Lucille Hemmen.
The last guardians of the rainforest
The Munduruku people are the guardians of the Amazon rainforest and are fighting for their own survival. Gold miners are invading their territory and operating clandestine mines.
Brut. (2022). Directed and filmed by Nadege Justiniani, edited by Mélanie Ciais.
Resisting the Taliban one slop at a time
In Afghanistan, snowboarding, surfing and skateboarding are synonymous with freedom. Despite the persecution they face, Afghan athletes continue to inspire their fellow countrymen and women and present a different image of their country.
Arte Tracks (2024). Directed by Nadege Justiniani, edited by Théo Goupil.
Fighting and raving
In Ukraine, partying is as much a way to relieve the pressure of the Russian invasion as it is to create spaces for solidarity and resistance. Tracks sets out to meet this techno scene, which is fighting the battle in its own way.
Brut. (2023). Directed by Nadege Justiniani, edited by Théo Goupil.
Miss Armenia at war
It's a war that doesn't make the headlines, yet it's happening on Europe's doorstep. In September 2022, Azerbaijan bombed and invaded part of Armenia. Like many women in her country, Miss Armenia decided to take up arms and follow paramilitary training to defend her people.
Brut (2022). Filmed and directed by Nadege Justiniani, edited by Quentin Hamon.
Climbing to survive
Açaí is a superfruit that has invaded the bowls of influencers around the world. A godsend for thousands of poor families who pick the açaí with their children. Armed with a knife and a simple rope, they climb trees up to 20 metres high, risking their lives. Despite falls and deaths, the industry is unregulated and these children remain unprotected.
Brut. (2022). Directed and filmed by Nadege Justiniani, edited by Mélanie Ciais.