Several scary black-and-white animated segments in different styles appeal to our fear(s) of the dark.

ŽIŽEK! trails the thinker as he crisscrosses the globe, racing from New York City lecture halls, through the streets of Buenos Aires, and even stopping at home in Ljubljana, Slovenia. All the while Žižek obsessively reveals the invisible workings of ideology through his unique blend of Lacanian psychoanalysis, Marxism, and critique of pop culture.

The tiny village in the far north of Sweden called Ensamheten (Solitude) has sixteen inhabitants. They all share an unusual passion - armwrestling.

Som, an ordinary young woman who works as a movie make-up artist. Her longtime live-in boyfriend Rang is also in the business. But the handsome musclebound prop guy – always wearing tight, biceps-baring vest T-shirts – captures many adoring eyes, like that slutty actress, but also his straight-acting gay boss and just about anyone else with a pulse.

The Story of the Amazing Live Sea-Monkeys is the colourful and surprising true story of a man named Harold von Braunhut; a man who could look at the humblest of creatures – the brine shrimp – and imagine an empire built upon it. Breezy, colourful short about a half-century of marketing directly to children, the force of nostalgia in pop culture, and an unlikely meeting of flimflam and hard science.

It is a documentary story about five legends of russian cinema: Nonna Mordyukova, Tatyana Okunevskaya, Tatyana Samoylova, Lidiya Smirnova and Vera Vasileva. These wonderful women tell about their lifes and careers in hour interview.

An intimate exploration of the circumstances surrounding the incarceration of Native American activist Leonard Peltier, convicted of murder in 1977, with commentary from those involved, including Peltier himself.

Filmed and edited entirely in isolation, Living in Fear is an educational and inspiring documentary directed by myself, Stephanie Castelete-Tyrrell, a disabled filmmaker as I capture the fears and struggles disabled people faced before the government implemented the lockdown on the 23rd March 2020. Thousands of people with disabilities were left in the dark and had to make the call weeks before to lockdown as it was inevitable that we would die if we caught the virus. Food was impossible to access because we couldn't go out or get delivery slots, and even if we did panic buyers made it impossible to get the items we desperately needed. We were truly isolated, unable to have family and friends visit. Having carers coming in and out of the house was risky and many disabled people felt that having basic care was putting their lives at risk.

Examines the public scandal and private tragedy which led to legendary director Roman Polanski's sudden flight from the United States.

Chuck Close, an astounding portrait of one of the world's leading contemporary painters, was one of two parting gifts (her second is a film on Louise Bourgeois) from Marion Cajori, a filmmaker who died recently, and before her time. With editing completed by filmmaker Ken Kobland, Chuck Close lives the life and work of a man who has reinvented portraiture. Close photographs his subjects, blows up the image to gigantic proportions, divides it into a detailed grid and then uses a complex set of colors and patterning to reconstruct each face.

Three children living in a displacement camp in northern Uganda compete in their country's national music and dance festival.

“La Zerda and the songs of oblivion” (1982) is one of only two films made by the Algerian novelist Assia Djebar, with “La Nouba des femmes du mont Chenoua” (1977). Powerful poetic essay based on archives, in which Assia Djebar – in collaboration with the poet Malek Alloula and the composer Ahmed Essyad – deconstructs the French colonial propaganda of the Pathé-Gaumont newsreels from 1912 to 1942, to reveal the signs of revolt among the subjugated North African population. Through the reassembly of these propaganda images, Djebar recovers the history of the Zerda ceremonies, suggesting that the power and mysticism of this tradition were obliterated and erased by the predatory voyeurism of the colonial gaze. This very gaze is thus subverted and a hidden tradition of resistance and struggle is revealed, against any exoticizing and orientalist temptation.