Tipping Point - (Feb 27th)
Landscape Artist of the Year - (Feb 27th)
The Kelly Clarkson Show - (Feb 27th)
Gogglebox Australia - (Feb 27th)
Family Feud Canada - (Feb 27th)
Reacher - (Feb 27th)
Life Below Zero - (Feb 27th)
Come Dine With Me- South Africa - (Feb 27th)
Green Eyed Killers - (Feb 27th)
Kirstie And Phils Love It Or List It - (Feb 27th)
Tyler Perrys Young Dylan - (Feb 27th)
Harley Quinn - (Feb 27th)
NCIS- Sydney - (Feb 27th)
After Midnight - (Feb 27th)
The 11th Hour with Stephanie Ruhle - (Feb 27th)
The Real Housewives of Sydney - (Feb 27th)
The Thundermans- Undercover - (Feb 27th)
The Family Business- New Orleans - (Feb 27th)
Summer House - (Feb 27th)
Bergerac - (Feb 27th)
When Women Kill is a poignant documentary exploring the shocking violence that seven women fell victim to at the hands of men. The program profiles the battered women who speak frankly about the cruel abuse, threats, and fears, and the overassertive men who led them down a one-way path to death and destruction. The film features in-prison footage, including a segment depicting a confession by a follower of the notorious Charles Manson, Leslie Van Houten, who was convicted of two killing sprees and committed to life in prison.
The soulless atmosphere of a women's penitentiary destroys the prisoners' personality, kills all femininity in them. The film looks at the rationality of the long prison terms for women with children.
The film follows a simple structure, and shows the drug-related degradation of five youths (Jake, Tracey, Jessica, Alice, Oreo) during the course of three years. The film depicts drug-related crimes and diseases: prostitution, male prostitution, AIDS, and lethal overdoses.
Maryam Henderson-Uloho spent thirteen years in prison in Louisiana, seven in solitary confinement. After her release she struggled to find housing or employment. She began selling secondhand goods out of a suitcase on a street corner in New Orleans. In just three years, she grew her business to a brick-and-mortar thrift store—one that also provides housing and employment for other formerly-incarcerated women. She calls those women—and her store—Sister Hearts.
Ashley Smith was a troubled 19-year-old when she choked herself to death at Ontario's Grand Valley Institution for Women. Her death made national headlines and led to a scathing report by Canada’s federal prison ombudsman. Incarceration for Ashley began at a youth detention centre in New Brunswick. Her crime: she had tossed crabapples at a mailman. Her one-month sentence stretched to almost four years, served in five provinces. With the prison videotapes and exclusive access to Smith’s parents, along with a fellow inmate, this documentary exposes a system that fails the many Ashley Smiths still incarcerated in Canadian institutions.
This film confronts the culture of violence surrounding trans women of color. It is told through the voices of Laverne Cox and Cece McDonald.
Follows filmmaker and actress, Maryam Zaree, on her quest to find out the violent circumstances surrounding her birth inside one of the most notorious political prisons in the world.
Libertad, Enriqueta, Maricarmen and Albert evoke the years when their mothers and his aunt stayed in Les Corts jail, times of innocence, hopelessness and distress. Their childhood stories inmmerse us in a world whose main characters are memories, oblivion and the passing of time.
Trevor McDonald goes to Rockville Correctional Facility in Indiana to speak with some of the women that live there.
In Paradisum relates two disturbing stories simultaneously. The female narrator tells her personal tale of imprisonment as the wife of the notorious Estonian serial killer, Andreas Hanni. Although her story is bizarre, it touches familiar themes that run throughout modern life: the desire to be loved and the fear of being alone. Pille Hanni's tale unfolds over cinema vérité images of life in several Estonian prisons. At times the images reflect in a literary way the events of the narration, yet they are representations and impressions, rather than traditional documentary style footage of the people involved. This opens the story to a more general interpretation, often with unsettling results. The parallel contents reveal, at two levels of story and social organisation, how the bizarre and inhuman can be tolerable and even addictive in the face of our fears.