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This short satirical film, created entirely from archival footage, is about the British Empire—on which the sun never sets. The majority of the humour and wit is found in the interplay between image and sound: what we see during the formative days of the Empire, and what famous servants had to say about it. Edited by Oscar®-nominated experimental filmmaker Arthur Lipsett (Very Nice, Very Nice).

Guyanese painter Aubrey Williams (1926-1990) returns to his homeland on a “journey to the source of his inspiration” in this vivid Arts Council documentary, filmed towards the end of his life. The title comes from the indigenous Arawak word ‘timehri’ - the mark of the hand of man - which Williams equates to art itself. Timehri was also then the name of the international airport at Georgetown, Guyana's capital, where Williams stops off to restore an earlier mural. The film offers a rare insight into life beyond Georgetown, what Williams calls “the real Guyana.” Before moving to England in 1952 he had been sent to work on a sugar plantation in the jungle; this is his first chance to revisit the region and the Warao Indians - formative influences on his work - in four decades. Challenging the ill-treatment of indigenous Guyanese, Williams explored the potential of art to change attitudes. By venturing beyond his British studio, this film puts his work into vibrant context.

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'An instructional film made on behalf of the Department of Social Welfare, demonstrating a new technique to teach English to illiterate adult audiences in the Gold Coast. (..) This is a film with an almost entirely African cast, depicting an African teacher instructing a group of African students, produced by a predominantly African crew. Yet, the subject of the film – encouraging the widespread teaching of English – jars with this image of a modern Gold Coast. Just as the Gold Coast Film Unit was overseen by British figures – such as Sean Graham and, in this case, George Noble – this film also endorses the retention of British influence within a new national identity'. - Tom Rice, for colonialfilm.org

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Edward Said, a Palestinan writer, academic and exile, talks about his book "Culture and Imperialism" and explains how the attitudes forged over the last 200 years continue to enforce the relationship between the west and the developing world.

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Paul Atreides, a brilliant and gifted young man born into a great destiny beyond his understanding, must travel to the most dangerous planet in the universe to ensure the future of his family and his people. As malevolent forces explode into conflict over the planet's exclusive supply of the most precious resource in existence-a commodity capable of unlocking humanity's greatest potential-only those who can conquer their fear will survive.

Richard Dix as Dan Taylor and Preston S. Foster as Paxton Bryce are two longtime friends seeking their fortune in Texas after the war. The two men decide, not without problems, to establish a cattle empire. Paxton becoming too ambitious, distances himself from Dan and Abby, Paxton's wife. It will only be after a personal tragedy that he will come back to his senses.

Having enthroned the wife of Peter the Great and his mistress Catherine I, Menshikov receives unlimited power, thereby causing envy and indignation of his former allies in the coup. Taking advantage of his absence, they are plotting against His Serene Highness. But once again, luck accompanies the brave darling of fortune: having received a warning of mortal danger, he escapes arrest and enters the boudoir of the Empress.

During China's Tang dynasty the emperor has taken the princess of a neighboring province as his wife. She has borne him two sons and raised his eldest. Now his control over his dominion is complete, including the royal family itself.