Bailey Bass

Heather McComb

Kate Orsini

Emily Koschella

Forced to transfer to a new school, Dylan quickly rubs reigning mean girl Tiffany the wrong way. Dylan's family offers to throw her a sweet 16 party to help her adjust, but Tiffany will stop at nothing to destroy Dylan's plans, including murder.—AndreaPomMom

Psycho Sweet 16

Psycho Sweet 16 (2022)

Saskia Rosendahl

Christine Voigt

Stefan Noebel-Heise

Cossa

A strange encounter with a wild wolf at the edge of Ania's cold, mundane town sets off a deep-seated passion within her, shattering the drudgery of her dull days. Determined to hunt the untamed creature, she finds herself pulled to the natural world as a fearless lust for the wolf grows, eliciting a desire for her own sexuality and a disregard for social graces, repulsing yet attracting everyone around her. As the balance between the natural world and modern civilization begins to tip, so too do Ania's inhibitions, forcing her to question the glaring hypocrisies closing in on her.—Sundance Website

Wild

Wild (2016)

Charlotte Valandrey

Annie Girardot

Patrick Paroux

Youssef Diawara

A large family crams into a three-room flat in a drab suburb.Twelve people ,soon joined,out of the blue, by the prodigal son, released from jail.To make matters worse,the TV set , then the sofa and finally the refrigerator vanish into thin air.Neverthelesss, life goes on ,with mom's nervous breakdowns , dad's absences ;The daughter, Julie, an abandoned social worker,is always sobbing ; her sister , rehearsing the "Hebrew slaves chorus" is eagerly waiting for her drafted fiancee.—dbdumonteil

Toujours seuls

Toujours seuls (1991)

Caroline Catz

This is the dramatic global story of the first year of COVID-19, tracing the devastation caused by the spread of the virus across four continents.

Outbreak: The Virus That Shook the World

Outbreak: The Virus That Shook the World (2021)

Vittorio De Sica

Gianni Agus

Edgardo Siroli

Inger Milton

September 1943: in the general confusion a thief dressed as a priest and a sergeant exchange clothes and roles.

I due marescialli

I due marescialli (1961)

Chris McHallem

Ernest Shackleton

Sven Habermann

Alexandra Shackleton

Ernest Shackleton died in his cabin in 1922 while on board The Quest, which was to be his final expedition. One hundred years later that same cabin has ended up in the hands of an esteemed historical object conservator called Sven Habermann, waiting to be restored to its former glory. With just one photograph of the cabin's interior in existence, Shackleton's thrilling story is brought to life through Sven's pursuit of all the original materials contained in the cabin. The documentary reveals previously unseen archive material which will bring the viewer deep into the world of Ernest Shackleton's fearless adventures. Contributors include Jan Chojecki whose grandfather financed the expedition, Alexandra Shackleton, Ernest Shackleton's grand-daughter and the world's greatest living explorer Ranulph Fiennes, who gives a fascinating insight into the mindset of an explorer.

Shackletons Cabin

Shackletons Cabin (2022)

Ghazaros Demirdjian

Born in Bulgaria in 1927, Ghazaros Demirdjian was the son of displaced Armenian immigrants who had escaped the genocide (1915-1923). Ghazaros knew there was a better life out there for him. He loved John Wayne movies and dreamed of moving to America. With a developed sixth sense (which he credits to have learned from Romanian Gypsies), he knew it could be done, and finally embarked on a journey fraught with such peril that only the most determined could have survived. This is his story. From imprisonment in both Iraq and Iran, to the honor killing of a Turkish infidel, to arson in a fight with the mafia, this is the true story of how an Armenian born into abject poverty somehow made it to Hollywood and created a fortune in the American trash business. He achieved the America Dream, his dream, of a successful business, a full table, and a loving family who now bask in the glow of his love and legacy. They couldn't pronounce his nameso they called him Zarko.

They Call Me Zarko - The Ghazaros Demirdjian Story

They Call Me Zarko - The Ghazaros Demirdjian Story (2021)

Big Makhou Djolof

Abu Hawi

Hamzat Lawal

Sekou Coulibaly

Executive Producer Fernando Meirelles (Academy Award-nominated director of City of God (2002) and The Two Popes (2019)) and Malian musician Inna Modja take us on an epic journey along Africa's Great Green Wall - an ambitious vision to grow an 8,000km "wall" of trees stretching across the entire continent to fight back against runaway climate change, severe resource scarcity and mass migration.—Anonymous

The Great Green Wall

The Great Green Wall (2019)

Tom Cruise

John Krasinski

Michael Bay

Oliver Stone

"Top Gun: Maverick" was the biggest hit of 2022, but audiences were largely unaware that a behind-the-scenes contract with Paramount gave the military the right to "weave in key talking points," edit the script, and screen the film before its release. This was not the first time, of course. Internal documents from the Pentagon's Entertainment Media Office praised its work with "Top Gun" (1986) as having "rehabilitated the military's image, which had been savaged by the Vietnam War." Naturally, the upper echelons of the military see Hollywood as a PR opportunity, but questions arise: How deep does this PR campaign go? How many films? What's the extent of script doctoring?Roger Stahl, a professor of communication at the University of Georgia, has studied the "military-entertainment complex" for a decade. He's aware that the military housed an office for doing business with Hollywood and TV, but the scholarly consensus was that it was a small-time operation that perhaps influenced a couple hundred films. Then he learns of two British researchers, Matthew Alford (University of Bath) and Tom Secker (freelance journalist), who obtained tens of thousands of pages of internal U.S. Defense Department and CIA documents through Freedom of Information Act requests. The documents confirm that the security state has exercised direct editorial control over at least 1,000 feature films and another 1,000 television shows.The DealProducers who want access to military hardware, personnel, and installations must visit the Pentagon offices in Los Angeles whose "entertainment liaison" in turn asks to review the entire script. Typically, producers receive several pages of line-by-line script change requests. If the producer makes the changes, they sign a contract, get the military goods to use as set pieces, and begin production with military oversight. If the military is unsatisfied with the script changes, or the producer refuses to make them, then there is no deal, and the producer walks away with what amounts to a competitive disadvantage in the movie business. This influence has a "chilling effect" on screenwriters even before their scripts land on the Pentagon's desk. The CIA has modeled their entertainment office off the military's. Professor Tricia Jenkins (author of The CIA in Hollywood) notes, however, that the CIA has found success by involving itself in preproduction and story conceptualization.Shot DownThe Pentagon's ability to deny assistance to a film or show is a powerful weapon. It began issuing more denials after Vietnam based on objections to forbidden themes the military internally calls "showstoppers." Such denials make productions more difficult and expensive. "Thirteen Days" (2000), for example, had to go to the Philippines to obtain equipment. A denial sometimes means a film is never made. Paramount Studios required producers to get military approval or it would not green light "The Hunt for Red October" (1990). Thereafter, virtually every Jack Ryan film (and the TV series) had Pentagon and CIA help. Films denied by the Pentagon often are never made. "Countermeasures" was to be a big-budget Touchstone film about weapons smuggling on an aircraft carrier. Although Sigourney Weaver had agreed to play the lead role, the Pentagon objected that "there is no need to denigrate the White House or remind the public of the Iran-Contra Affair." The film was never produced. A database maintained by the Pentagon Entertainment Media Office confirms that dozens of films have suffered this fate. Publicly, the Pentagon publicly says that it denies films that are "inaccurate," which is disingenuous. Internal documents show they were aware of authenticity and accuracy problems with "Top Gun," but they supported it nonetheless because it had PR value. At the same time, they have often denied films written or produced by veterans who experienced events firsthand. These include "Jarhead" (2005) and "Fields of Fire" from the late 90s, which was never produced. "Fields of Fire" is particularly dramatic as it was based on a book by Vietnam vet James Webb (former Secretary of the Navy) that is still required reading for Marine officers. It was rejected because it referenced drug abuse and war crimes. Army veteran Oliver Stone's films "Platoon" (1986) and "Born on the Fourth of July" (1989) were denied for similar reasons. In an interview, Stahl hands Stone his rejection letter for "Platoon." Stone talks about why the military's objections were self-serving and did not reflect concern for accuracy.How We KnowUntil recently, scholars assumed DOD and CIA influence was limited. The only major book on the subject was Guts and Glory by historian Lawrence Suid, which was remarkably uncritical of these practices. The DOD had apparently given him exclusive access to internal documents, which he kept in a private and inaccessible archive at Georgetown University. This provoked speculation about Suid's objectivity. In 2004, investigative reporter David Robb wrote Operation Hollywood, which used available documentation to argue that the entertainment office was engaging in propaganda. Suid attacked the book. Robb's work inspired researchers Matthew Alford and Tom Secker, however, who began making FOIA requests. They confirmed the DOD and CIA had worked on over 2,000 film and TV scripts. If individual TV episodes are counted, the number is over 10,000. Tricia Jenkins says that the CIA files are harder to crack. Meanwhile, Suid's death meant that his large archive of official DOD documents was opened to the public. In it, Stahl discovers evidence of a cozy relationship with the Pentagon, which may explain why his book was so favorable to the Pentagon's benign narrative.Projecting the InstitutionWhen it comes to the Pentagon office's interests, the most obvious is recruiting, which runs deeper than one might think. Beyond "Top Gun," the Navy turned a series of recruiting ads into the feature film, "Act of Valor" (2012), and the Air Force staged a massive "Captain Marvel" (2019) campaign to recruit young women. The CIA used "Alias" (2001-06) and Jennifer Garner to project a recruiting message and actually wrote the first draft of "The Recruit" (2003) starring Al Pacino and Colin Farrell. The Pentagon office is also interested in minimizing certain controversies like veteran suicide and racism in the ranks, which they remove from scripts. A big issue is sexual assault, which they have sought to replace (through perennially supported shows like "Army Wives" and "NCIS") with a story of how the victim refuses to talk but the military is so eager to find justice that they pursue the case anyway. This official storyline is at odds with the realities that victims report.The Soft SellOne of the main interests of the Pentagon is product-placing weapons systems in venues from History and Discovery Channel specials to feature films like the Iron Man and Transformers franchises. This is especially important for controversial systems like the F-35, which has been shoehorned into numerous productions. "Iron Man" (2008) is particularly dramatic. In the original script, Tony Stark goes to battle against the arms manufacturers, including his own father. After the film went through the DOD mill, however, the original script disappeared, Tony Stark inherited his father's business, and he became an arms dealer himself. This plot inversion allowed for the integration and celebration of military hardware. Apart from selling weapons, the Pentagon has endeavored to make the military the heroes of the story. They denied "Independence Day" (1996) because the aliens overwhelm the military and blow up the Pentagon (a scene that disappears from the final cut). Films like "Black Hawk Down" (2001) were an opportunity to take a military disaster and rewrite it as a triumphant rescue story. "Argo" (2012) functioned similarly for the CIA. The film's storyline, which the CIA had been pushing in Hollywood for years, de-emphasized the most unflattering aspects of the most embarrassing episode in CIA history and focused instead on the comparatively minor success of this single operation.On the RoadThe National Geographic Channel miniseries "The Long Road Home" (2017) was an Army-supported project filmed entirely at Fort Hood. It tells the story of an ambush on American soldiers outside of Baghdad in 2004, another military embarrassment. And like "Black Hawk Down" (2001), it turns the story of tragedy and mismanagement into a heroic rescue. Two veterans who were wounded in the ambush talk of how the show twisted the facts. First, "The Long Road Home" denigrated one character, Tomas Young, who later went on to be a prominent anti-war activist. Second, the show lionized the Battalion Commander responsible for the debacle and who, coincidentally, served as Chief of Army Public Affairs during the show's production. The veterans conclude that the changes in the show were part of a PR campaign. "That's not creative license," one says. "That's a cover-up."Skeletons in the ClosetThe CIA and Pentagon have scrubbed references to war crimes and other unsavory episodes from scripts. The CIA once rejected any mention of torture but after 9/11 began spinning it as necessary in shows like "24" (2002-14) and "Zero Dark Thirty" (2012). The Pentagon has removed mention of war crimes from a number of films, including "Lone Survivor" (2013). During a Navy-sponsored webinar, Stahl poses the question of why this was done the former Chief Information Officer, who defends the change even though it contradicted actual events. The Pentagon has also pushed to normalize the U.S. overthrow of foreign governments in supported films like "Iron Man" (2008, Afghanistan) and "The Suicide Squad" (2021, Latin America). The Amazon Prime series "Jack Ryan" (2018-19), supported both by the DOD and CIA, justified a U.S. intervention into Venezuelan politics at a time when the CIA was actually trying to stoke an insurrection to overturn a Venezuelan election. The Pentagon would also like viewers to forget about the dangers of American WMD's. They have removed references to Agent Orange and rejected films that insist on its portrayal. The same goes for any critique of nuclear weapons policy or the suggestion that keeping a large arsenal may itself pose a threat. In the case of "Godzilla" (2014), they removed speech about the horrors of Hiroshima and helped turn the franchise from a critique of nuclear proliferation into a celebration of the Bomb.Mission CreepThis is not just about war movies. Especially in the wake of recent unpopular wars, military PR has taken refuge in other genres like sci-fi and particularly reality TV - from game shows to home renovation to those that embed the viewer in overseas occupations. Recent Chief of Entertainment Media, David Evans, talks about "Inside Combat Rescue" (2013-16) as a particular success story for military PR. The military has also become more proactive through outreach and actively soliciting projects. Even though the office publicly denies pitching story ideas, the documents are rife with such activity. Evans' LinkedIn account plainly states that the office routinely intervenes the "concept and script development" stage.The Big PictureMilitary intervention in the entertainment industry is an important issue because of the degree of military intervention in other countries. The U.S. has a military larger than the next dozen countries combined and has been on a continuous bombing run since World War II. This kind of PR activity bolsters public support for these actions, creating another "cinematic universe," which has had enormous costs in terms of money spent and civilians killed. The question arises: What can we do about this propaganda effort? Part of the answer is legal. Because the DOD and CIA have blocked efforts at transparency, scholars suggest legal means for making this documentation accessible. And because the U.S. has laws against propagandizing to domestic populations, legislation could shut these operations down, automatically make documents public, or at least mandate disclosure of Pentagon and CIA support at the opening of a film or TV show. Such actions would arm audiences with critical tools "in a world" where the security state occupies so much cultural territory.

Theaters of War

Theaters of War (2022)

Zane Stephens

Davis Doodles Daisy

Jody Gibson

Annie Kocerha

A group of middle school friends go on the hunt for treasure after finding a skeleton in the woods.

The Skeleton's Compass

The Skeleton's Compass (2022)

James Bulgin

The Nazi evolution from murderous anti-semitism into organised death camps, as documented in this sober piece of historical excavation from Holocaust specialist James Bulgin, is truly shocking in its specificity. An ad-hoc interpretation of party doctrine became an agreed policy of mass shootings on the Eastern Front, before logistical frustrations and concern for the mental health of the executioners prompted a shift to more efficient methods. Almost as distressing as the barbarism itself was the necessary collaboration and complicity of many thousands of locals across Latvia and Lithuania. Harrowing viewing, but it is surely only in better understanding the detail behind the Nazis' mass murders that we can better understand how to ensure it never happens again.—from BBC (Canon y mus)

How the Holocaust Began

How the Holocaust Began (2023)

Marguerite Johnson

Oliver Levi-Malouf

Richard Kaczynski

John Martensen

In 1950s Sydney, bohemian artist Rosaleen Norton hits the headlines with allegations of satanic rituals, obscene art and sex orgies. She worships the God Pan, and practices trances and sex magic, inspired by the work of Aleister Crowley. Eventually the relentless scandals lead to the downfall of her high society lover, Sir Eugene Goossens. Told 'in her own words', the film weaves stylized drama and erotic dancers with never before seen artworks, diaries and scrapbooks. The Witch of Kings Cross is the fascinating portrait of a fearless woman outlaw railing against fearful conservative forces and an insight into the work of an uncelebrated genius. In today's new wave of feminism, Rosaleen's story has never been more pertinent.—Sonia Bible

The Witch of Kings Cross

The Witch of Kings Cross (2020)

Monica Bellucci

Toni Collette

Sophia Nomvete

Tommy Rodger

Kristin, a writer in her middle age, is grappling with the challenges of her son leaving for college, a chauvinistic boss, and her husband's recent infidelity. Amidst this turmoil, Bianca, a trusted advisor to Kristin's estranged grandfather, informs her of his passing and insists she attend his funeral in Italy. Though hesitant at first, Kristin's friend Jenny, a vocal attorney, convinces her that this journey could be the key to her recovery. However, things take a dangerous turn when the funeral transforms into a bloody shootout, and Kristin discovers that her grandfather intended for her, the only living heir, to take on the mantle of leader for Calabria's most formidable Mafia family.—Official Synopsis

Mafia Mamma

Mafia Mamma (2023)

John Randolph

Howard Da Silva

Orson Welles

Norman Lloyd

The Arts Project of the Work Projects Administration (1935-1942) was a USA government agency established to support writers, theater people, painters, sculptors, and photographers.

The New Deal for Artists

The New Deal for Artists (1976)

Greg Hemphill

Julie Wilson Nimmo

Scottish actors Julie Wilson Nimmo and Greg Hemphill take a deep dip into the world of wild swimming, rocking up at some of Scotland's wildest open-water lochs, rivers and bays in their quirky campervan. They lift the misty veil on Scotland's unpolished expanses of water and meet some inspirational people along the way.—BBC Scotland

Jules & Greg's Wild Swim

Jules & Greg's Wild Swim (2023)

Sang-ok Shin

Paul Courtenay Hyu

Eun-hie Choi

In 1970s South Korea, actor Choi Eun-hee and her ex-husband, film director Shin Sang-ok, were divorced, estranged and both struggling with stalled careers. Unfortunately, both their lives seemed changed forever when they were individually kidnapped in 1978 by their biggest fan, Kim Jong-il, despot of North Korea. With persuasion and brute force, the movie obsessed Kim planned to use them to develop the Hermit Kingdom's film industry and get it out of its mindless propaganda mentality. Through the words of Choi, their family, associates and US intelligence personnel, you will follow the story of the bizarre slavery of this couple even as they rediscovered their love and secretly gathered evidence of the dictator's crimes. All the while, they struggled to play along with the world's most dangerous film geek as they desperately planned their escape.—Kenneth Chisholm (kchishol@rogers.com)

The Lovers & the Despot

The Lovers & the Despot (2016)

Eileen Pollock

Tovah Feldshuh

Maeve Dermody

Victoria Emslie

A woman who has been dumped eleven times in a row, discovers (to her dismay) that she has a loser in love gene.

Love Type D

Love Type D (2019)

James Cosmo

Catherine Walker

Nora-Jane Noone

Molly McCann

Howard, a retired sea captain, refuses any help from his daughter Grace. When she hires Annie as domestic help for him, Howard unexpectedly falls in love. He gives all his affection to Annie and her family, but rejects his own daughter. My Sailor, My Love is a story about a guilt-affected daughter-father relationship. But it's also a love story between two elderly people, proving that a new beginning is never too late.—Jimmy Karlsson and Kirsi Vikman

My Sailor, My Love

My Sailor, My Love (2022)

Lúcia Moniz

João França

Filipe Gaidão

Adelaide Ferreira

Lúcia is a lawyer who works to help women establish paternity of their children when the fathers deny it; she is very devoted to her work since she doesn't know who her own father is either.

Incógnito

Incógnito (2012)

Maja Ostaszewska

Katarzyna Figura

Wladyslaw Kowalski

Mateusz Kosciukiewicz

A professor is investigating his own childhood home, while a movie director finds inspiration to make a documentary that reveals secrets across three generations.

Panie Dulskie

Panie Dulskie (2015)

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