1.0Cinema Politicahttps://www.cinemapolitica.org/fr/rich600338<blockquote class="wp-embedded-content" data-secret="Or7gzf8DHT"><a href="https://www.cinemapolitica.org/fr/film/another-news-story/">Another News Story</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://www.cinemapolitica.org/fr/film/another-news-story/embed/#?secret=Or7gzf8DHT" width="600" height="338" title="« Another News Story » — Cinema Politica" data-secret="Or7gzf8DHT" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script> /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); //# sourceURL=https://www.cinemapolitica.org/wp-includes/js/wp-embed.min.js </script> https://www.cinemapolitica.org/wp-content/uploads/2020/05/AnotherNewsStory4-1.jpg24001350Debuting director Orban Wallace’s feature-length work engages the European refugee crisis, but the young British director turns the camera lens in a direction rather different from the rest of the documentary scene investigating recent events. He trains his penetrating gaze on the journalists sent by their employers to the Mediterranean to cover the unfolding humanitarian […]