Adam Carolla and Dennis Prager examine the reality of life and discourse on college campuses in modern America.

Existing between the domains of architectural, technological and spiritual mediums, ‘spaces as traces’ features found footage, Teo’s body of archival material concerns with Singapore’s architecture and Taoist religious rituals, as well as three-dimensional rendered animation of deities in an imagined science fiction of Chinese mythology. 　　The fictional realm of Singapore’s government housing, mediates the entangled relationship between artificial intelligence and the Taoist Book of Changes, or I Ching. Here, the hexagram divination symbols of the I Ching engage in a dialogue with the architectural elements found in the building. The film toggles through fiction and archival documentation, interweaving timelines, narratives, and spaces.

This documentary recreates a genuine sense of the personal presense of the late modern architect, Paul Rudolph, and the ambience of his studio. Mr. Rudolph was widely recognized within the architectural profession as spontaneously brilliant, and the unchallanged master of space and the manipulation of form. The episode during the construction of the chapel at Emory University gives insight into the kinds of frustrations artists often suffer at the hands of short-sighted patrons. A fine film, based upon the reality it conveys, if for no other reason.

A moving portrait of a creative sanctuary lost to gentrification. Centered on the now-vanished warehouse at 411 New York Avenue NE, the film revisits the final year of Union Arts DC—a vibrant hub that from 2012 to 2016 was home to visual artists, musicians, performers, and dreamers. Through archival footage, intimate interviews, and the voices of artists who worked and performed there, the documentary captures the spirit of a space where art thrived and community flourished—until developers arrived with plans for a boutique hotel. As tenants rallied to save their space, Making Spaces: The Legend of Union Arts becomes a powerful elegy for what was lost and a rallying cry for what’s still at stake in the future of DC’s cultural landscape.

In the week that follows Princess Diana's tragic death on 31 August 1997, four separate stories unfold as four ordinary lives are all affected in different ways in this commemorative drama from writer Jeremy Brock and director Peter Cattaneo.

20 years ago, Bia fell into a coma when her daughter was born, but that hasn't stopped her from being part of the family's daily life for all that time, even if she's unconscious. One day, extraordinarily, Bia wakes up and causes a radical change in the lives of everyone around her. While she needs to relearn how to talk, walk and relate, her adult daughter, her ex-husband and his current wife will have to readjust to a new family configuration, much more complex and full of challenges.

World War II is about to end. Benito Mussolini, il Duce, supreme dictator of Fascist Italy, sees his totalitarian dream crumbling and his power slipping away as the terrible day of his ignominious death at the hands of those he so ruthlessly oppressed for more than two decades draws inexorably near.

Wilhelm Wilder (Will) is a talented actor stuck on a New York City children's TV show where he portrays Bad Luck Bunny, a hapless green rabbit. Feeling a failure, he bears his fate with touching self-irony, but grows sulky and petulant when he thinks that his wife, daughter and all his friends have forgotten his 40th birthday. In the confusion following a road accident, all the world believes he is dead. Instead of rectifying the situation, he decides to fulfill a fantasy and attend his own funeral. Here he will learn what everyone really thinks of him. With the aid of his best friend Rad, an Indian restaurant-owner, Will becomes Vijay Singh, a handsome and gentlemanly Sikh, complete with turban and beard. Will confronts a unique problem: everyone likes Vijay, and most of all, he likes Vijay, more than he ever liked himself. (Sam Garbarski)