Censored!

A documentary about the career of director Jack Arnold at Universal-International Studios. (An early version of this film, only 20 minutes in length, was screened in 2012.)

Documentary about the original 1986 film Critters. Features interviews with actors Dee Wallace, Don Opper, Terrence Mann, and Lin Shaye; producer Barry Opper; writer Brian Muir; critter designers and voice actors; and many more.

A celebratory documentary looking back at the 30 years since comedy legend Mr Bean landed on our screens. This documentary explores the magic behind this unlikely hero.

It's been years since her husband passed away, and Lisa's life finally has a solid foundation again--she has a high power job, a stable relationship with her longtime boyfriend Mark, and her teenage daughter, Sienna, is excelling in life. That is, until Sienna expresses her desire to become an actress.

When World War II broke out, John Ford, in his forties, commissioned in the Naval Reserve, was put in charge of the Field Photographic Unit by Bill Donavan, director of the soon-to-be-OSS. During the war, Field Photo made at least 87 documentaries, many with Ford's signature attention to heroism and loss, and many from the point of view of the fighting soldier and sailor. Talking heads discuss Ford's life and personality, the ways that the war gave him fulfillment, and the ways that his war films embodied the same values and conflicts that his Hollywood films did. Among the films profiled are "Battle of Midway," "Torpedo Squadron," "Sexual Hygiene," and "December 7."

A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.

The untold state of mind dealing with an incurable disease. One is wondering if there's still a dream to achieve in life. One is running as if this free spirit of mine has never been taken away.

Steve Thompson is losing himself, one memory at a time. Plagued with amnesia after getting a concussion, Steve is overwhelmed by his unrecognizable life and leaves his family in search of answers. But his quest only returns him back home, where he must face his demons and get at the truth.

Alternately hilarious and horrifying, Overnight chronicles one man's misadventures of making a Hollywood movie. It starts out as a rags to riches story as Troy Duffy, a Boston-bred bartender, sells his first screenplay for The Boondock Saints.

Cocaine has always gotten a bad rap, and for a reason. It is a drug used by the rich and the poor legally and illegally, Mexican cartels fought over it with Colombia once associated with the brutal cocaine wars, and a source of tension between the American and Mexican borders on the people who are illicitly bringing in cocaine from one side of the border to another and will do anything to do it. So it can be surprising at times to the viewer throughout the course of the documentary special, that it was never always like this.

What makes European cinema so special? Find out in Paul Joyce’s feature-length documentary, Pictures of Europe, which examines the differences between American independent and Hollywood movies and films from European directors. Featuring luminary iconoclasts from European cinema such as Agnes Varda, Bernardo Bertolucci and Pedro Almodovar, as well as American counterpoints from Paul Schrader, and those who have crossed back and forth, such as Paul Verhoeven

In the 1930s, three unsuccessful variety artists dream of making it big. When they hear about the rise of sound films in Hollywood, they see their chance: a language school for silent film stars will bring them fame and success. Full of hope, they travel to California, straight into the exciting world of the first sound film productions. But not everything goes as planned...

A retrospective documentary about the groundbreaking horror series, Friday the 13th, featuring interviews with cast and crew from the twelve films spanning 3 decades.

In 1928, Amelia Earhart gains fame by undertaking a transatlantic flight as a passenger. In 1937, she and her navigator Fred Noonan undertake her longest flight: a round-the-world attempt. However, the plane disappears in the process.

In the spring of 1902, Viennese working-class daughter Marie König runs away from her beating father and is lured into a high-class brothel by an agent. Instead of the promised self-determined life "with horse-drawn carriage rides and silk dresses", she experiences closed doors, violence and exploitation. Only after years of agony does Marie confide in the journalist Emil Bader, who makes the conditions in the brothel public and takes the owner, Regine Riehl, to court.

The shooting diary of a film shot in France and in the United States. Using photos of Paris and of New York City, excerpts of his former films, statements by friends of his and shooting sequences of the film itself, tormented filmmaker Marcel Hanoun has made a heterogeneous and unclassifiable film about the difficulty of filming.

Former Disney child star Hayley Mills returns to the Walt Disney Studio for a look at the techniques of animated film production, with various veteran Disney animators illustrating said techniques.

An independent filmmaker takes on the challenge of creating a large scale WW1 film. When faced with harsh weather conditions and the constraints of limited resources, the director and crew must battle every day to get the film across the line.

Film historians, and survivors from the nearly 30-year struggle to bring sound to motion pictures take the audience from the early failed attempts by scientists and inventors, to the triumph of the talkies.

In "Diana: The Mourning After" Christopher Hitchens sets out to examine the bogusness of "a nation's grief", tries to uncover the few voices of sanity that cut against the grain of contrived hysteria. His findings suggested that the collective hordes of emotive Dianaphiles sobbing in the streets were not only encouraged but emulated by the media. In the aftermath of Diana's death a three-line whip was enforced on newspapers and on TV, selling the sainthood line wholesale. The suspicion was that journalists, like the public, greeted the death as a chance to wax emotional in print, as a change from the customary knowing cynicism, to wheel out all those portentous phrases they'd been saving up for the big occasion. Sadly, they just seemed to be showboating; the eulogies, laments and tear-soaked platitudes ringing risibly hollow.