National Gallery

With the coveted glitter ball trophy once again up for grabs, how will series winner Chris Hollins fare against other celebrity favourites - including Austin Healey, Kelly Brook, Mark Ramprakash, Ali Bastian, and Natalie Cassidy? As they take to the stage alongside their professional partners including; Kristina Rihanoff, James and Ola Jordan, Brian Fortuna, Natalie Lowe and Ian Waite, in brand new breathtaking outfits and daring routines. They will need to impress judges; Len Goodman, Bruno Tonioli, Craig Revel Horwood and Arlene Philips. Who as always, are ready with quips, banter and razor-sharp observations!

How do humans and animals see each other? Dominique Loreau captures astonishing exchanges of “views” between people and animals who coexist in the city, in farms, slaughterhouses, zoos, museums, or in a dance rehearsal room. In The Eyes Of A Beast questions the permeable boundary between man and animal.

Deeply thoughtful and illuminating, DRAWING A LIFE reveals the details of artist Geoff McFetridge’s life and work while delving further into the universal questions of what makes a fulfilling life and how to live with intention in the limited time we all have.

This independant documentary linking poetry, artistic testimonies and performances offers a positive, innovating outlook on our creativity. It exposes the obstacles that may hinder it as well as the powerful assets creativity provides throughout our lives and in many different fields. Catherine Vidal, neurobiologist and director of the Pastor Institute, Albert Jacquard, geneticist and humanist, Jacques Salomé, social psychologist, Cédric Chapuis, director of performing Arts share their convictions regarding this topic essential to individual and collective development. The film offers a constructive vision inviting viewers to explore their own creativity and emphasizes the importance of placing it at the heart of children’s development through an education based on happiness.

At the Vienna Art Academy in 1994, an unidentified person painted over 27 works by Austrian painter Arnulf Rainer. Rainer had become world-famous for his abstract art and, in particular, for his over-layering of photographs and overpainting of his own and other artists’ works. But who painted over the “overpainter”? Speculation rages: Did he attack his works himself? A year later, an unsigned letter surfaces claiming responsibility for the act directed against Rainer – and modern art in general – and accusing the artist of being complicit with “destructive modernism.” At the same time, Austria is shaken by a series of mail bombs by the Bajuwarian Liberation Army, in response to the supposed threat to Austria’s “German identity.” Are there connections between the overpainting event and the mail bombs? Or is this all just a game? A dream? Or perhaps a hallucination?

When he arrives in Saint Petersburg, at the age of 29, Marius Petipa is just an obscure dancer who fled western Europe to escape his debts. He is far from imagining that his engagement in the troupe of the Russian Imperial Ballet, then rather mediocre, will reveal him, forty years later, as one of the greatest choreographers in the history of dance. It is within the Bolshoi Kamenny theaters, then Mariinsky, in a still provincial capital where three productions a year are enough to satisfy an undemanding audience, that this native of Marseille will invent a new art of ballet, over the course of sixty of creations, between 1862 (La fille du pharaon) and 1895 (Le lac des cygnes).

In the same vein as Meri's other documentations, this one takes advantage of the glasnost policy to discuss the social and ecologic impact of the Russian oil industry on the natives and the lands they inhabit.

The film explores the role of photography, since its rudimentary beginnings in the 1840s, in shaping the identity, aspirations, and social emergence of African Americans from slavery to the present. The dramatic arch is developed as a visual narrative that flows through the past 160 years to reveal black photography as an instrument for social change, an African American point-of-view on American history, and a particularized aesthetic vision.

In 1976, the Tate Gallery exhibited an experimental artwork that became a national sensation - Carl Andre's Equivalent VIII, or, to its detractors, 120 bricks laid on the floor. This documentary explores the origins of Andre's work and the extraordinary fallout from its exhibition.

Early Balkan footage.