Many geneticists and archaeologists have long surmised that human life began in Africa. Dr. Spencer Wells, one of a group of scientists studying the origin of human life, offers evidence and theories to support such a thesis in this PBS special. He claims that Africa was populated by only a few thousand people that some deserted their homeland in a conquest that has resulted in global domination.

It shows the Neretva river from its source to the shores of the Adriatic Sea. The document also captures the original four-hundred-year-old bridge in Mostar.

A New Yorker journeys to the jungle in the Darien Gap of Panama to reconnect with an indigenous tribe he met and photographed 20 years ago. Their reunion highlights the profound power of photos and the human connection that transcends cultural barriers.

Take to the sky and come face-to-face with Washington states majestic mountains, including one of the Pacific Northwests most well-known symbols: Mount Rainier. Celebrate the diversity of the states landscapes in Over Washington, from the glittering Puget Sound in the west to the rolling Palouse in the east. Stunning aerial cinematography and original music bring these spectacular images to life.

Documentary film about the Czechoslovak natural science group's expedition to Iceland in June 1948.

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This documentary shows the characteristics and location of major plains and plateaus of North America, and discusses some of the ways in which they have affected man's use of the land.

Explores the distinctive features of the major rivers of the continent, and discusses their contributions to the farming, recreation, transportation and hydroelectric power of North America.

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Decolonising the Curatorial Process is a forty-minute documentary which explores decolonial strategies in an academic and curatorial context. The film features academics, activists and practitioners, and contains case studies of institutions that are deploying critical, self-reflective forms of curatorial practice. The Museum of London Docklands exhibition on slavery and the sugar industry is examined as an example of how an institution can decolonise the curatorial process, utilise the work of artists in a museum context, and critically examine East London's imperial history. The Pitt Rivers museum in Oxford, who are working with Maasai activists from Kenya and Tanzania on a project centred on repatriating the museum's collection of sacred Maasai artefacts, also features in the film.

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The River of Life and Death captures the slow time in the well-known Indian pilgrimage place of Benares, the act of purification by water, the burning funeral pyres, and the dandling snakeheads under the temple stairs.