Argemira

The life and times of sailor and adventurer Sir Peter Blake, one of New Zealand's favourite sons.

An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time. (Silent short, voiced in 1937 and 1996.)

For over half a century, 60 Minutes' fearsome newsman Mike Wallace went head-to-head with the world's most influential figures. Relying exclusively on archival footage, the film interrogates the interrogator, tracking Wallace's storied career and troubled personal life while unpacking how broadcast journalism evolved to today’s precarious tipping point.

Dan Wetzel and Kevin Armstrong undertake an exhaustive journey into the mind and motives behind the murderous fall, and tragic suicide, of Aaron Hernandez, providing an unprecedented look into the most infamous athlete since O.J. Simpson.

Follow Academy Award winner Olympia Dukakis behind the scenes in this affectionate profile of a stalwart New Yorker and beloved stage and screen treasure.

A celebration of the Irish punk/poet Shane MacGowan, lead singer and songwriter of The Pogues, that combines unseen archive footage from the band and MacGowan’s family with original animations.

Grinders, rag-men, China menders, mattress carders are among those small trades of yesteryear that have disappeared from our sight and fallen into oblivion. But way back in 1931 they were far from extinct and still populated and livened up the streets from dawn till dusk. The tenderness of Pierre Chenal look at them is only accentuated by the nostalgia experienced by today's viewer.

I ran from it and was still in it poetically interweaves personal family memories with original and found footage to offer a more complex portrait of familial loss and separation. Kae wades through deep emotions surrounding the death of his father and the sudden relocation of his children, repurposing intimate family scenes from his personal archive by pairing them with online media from a variety of sources to explore how the autobiographical model can potentially extend beyond the personal.

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

Nannies combines autobiographical elements with a reflection on the presence of nannies in Brazil. With a subjective narration, the film incorporates photographs, domestic footage and newspaper adds from the 20th century, as well as contemporary images of nannies and children, building a personal narrative about the presence of nannies in the daily lives of many Brazilian families. A situation where the affection is genuine, but does not dissolve violence and racism.

In the world's first media interview, shot in Paris in August 1886, the great photographer Nadar interviews the famous scientist and sceptic Chevreul on his 100th birthday. In their own words - originally recorded in shorthand - they discuss photography, colour theory, Moliere, the scientific method, the crazy ideas of balloonists, and - of course - how to live for 100 years. These two legends of the 19th century have a lively and interesting conversation. One was born before the French revolution; the other was destined to see the marvels of the aeroplane and the movies.