Shot in Brooklyn, NY in November of 2021, comedian David Cross tackles Covid-19, anti-vaxxers and more.

Sweeney Bliss, champion mule raiser in Missouri, takes his prize mule Samson to London, where the British government is trying to decide whether to buy mules or tractors for its colonial troops. He is accompanied by his ritzy wife Julie who has high society aspirations and hopes to have her younger sister Lola Pike marry a British diplomat. Complicating matters is a business rival, Porgie Rowe, who is trying to sell tractors to the government and keeps knocking Sweeney's prize Missouri mules.

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The European culture channel ARTE has recently dedicated a number of segments to the American saxophonist David Murray, one of the most interesting and spectacular artists of this instrument today. The cycle started with the documentary 'David Murray: I'm a Jazzman' written by Jacques Denis and Jacques Goldstein, and directed by Goldstein. It continued with two concerts of Murray recorded in the recent years - the first with Cassandra Wilson and the Black Saint Quartet at the Jazz a Vienne Festival and the second with the Gwo-Ka Masters group of percussionists from Guadeloupe. Goldstein's film is based on an extended interview-confession with the artist. It is of course by listening to the music that we do understand best a musician. Yet I wish we can hear more such testimonies from artists speaking about their lives, their influences, and the way they relate to their art. Listening to Murray we have the opportunity to know the man and the biography and understand better where his music is coming from. We meet a man who is sincere and true in what he does, who explores not only musical territories but also his own self. We meet an artist who tries to make music that is representative to his times and reflects the influences of the world around as well as his personal background. Born in Auckland California, Murray was influenced by a combination of tradition and social revolution. He attended church, and a precious film fragment from his personal archives shows him accompanying a group of women singing gospels in church, but at the same time his father was close to the Black Panthers movement and their protest ideas. When he took the trip in New York, mandatory to almost any American jazz artist, it was at the time of the pick of the Loft Jazz trend, and his principal influences became Archie Shepp and Albert Ayler. He borrowed the style of the later, and the long circular breathing phrases became a print of his own personal style. After more than two decades of activity in New York, Murray took a trip to Europe about which he speaks largely in the film. It is here that he has the time to reflect on his own origins and discovers the need to go back to the roots of the African music. The story of his meeting with the work and biography of the Russian poet Pushkin who also had African ascendancy in his blood is interesting by itself, as is the music he composed on this occasion. Best words about David Murray in this documentary are being said by jazz journalist Stanley Crouch. He describes Murray as one of these artists who are capable to combine in their music the flame of passion of the primitives with the relaxation of the sophisticated instrumentalists who master their means. The documentary is an open invitation to cross the gate of knowing better the man and his art.

Taped in July before a live audience at the Showbox Theatre in Seattle, Cross pushes his brash humor to new extremes, offering uncensored remarks on the Virgin Mary, trendy advertising, violence in the media, airports and pornography, Dr. Kevorkian, organ donations, High Times magazine and religious fundamentalists.

6-grader Kolya Gerasimov discovers a time machine in a basement of an old house in Moscow and gets transferred into the 21st century. There he is allowed to look around. Accidentally, Kolya witnesses two space pirates who arrive from Saturn and later try to steal a device called a "Mielophone" (which can read thoughts) from Alisa Seleznyova - a girl that performs experiments with this device and animals. Kolya manages to save the device from the pirates and brings it back to the 20th century. But both pirates and Alisa get there too. Alisa knows where Kolya studies but doesn't know what he looks like. Pirates saw Kolya, but don't know anything about him. Written by Boris Shafir

Aiman, an 11-year-old boy, has never really cared about his health. To him, he is still young, there will always be time to change. But his life takes a strange turn when he begins receiving mysterious letters claiming to be from himself... from the future. At first, Aiman dismisses them as nothing more than a prank by his friends. However, when the messages start coming true, he begins to wonder: Is the future really trying to save him? Or is there someone who knows far too much about him? Message from the Future is an emotional mystery drama with touches of comedy about time, choices, and the small things we often put off... before it may be too late.

Des rêves plein la tête malgré les difficultés qu’ils rencontrent, quatre jeunes s’interrogent sur leur avenir et celui de leur communauté. Venus de France, Indonésie, Inde et Liban, leurs destins convergent à New York où ils témoignent de leur expérience de la pauvreté aux Nations Unies. Au travers de l’écriture, de la danse, de la photographie et du dessin, les protagonistes posent, avec courage et joie, un œil rare sur les grands défis contemporains.

A look at the unmade story, The Foe from the Future, which formed the basis of The Talons of Weng-Chiang.

"Only fifty minutes to go until the end of the world, please head to the check-out!", thus goes the instruction that rings out from the loudspeakers of a Moscow supermarket. When cashier Gulya shuts up the shop and resolves to prepare for the apocalypse, a naked individual appears from amongst the aisles to claim that he has arrived from the future with the task of saving the planet. Originally from Bishkek, Gulya is supposedly the chosen mother of the savior, whom he, Alexander Merkuriev, is to impregnate. The morning after however it soon becomes clear that Alexander ended up in the wrong supermarket with the wrong Gulya. The right Gulya, who is actually from Tashkent, cannot keep the revelation to herself on learning of her destiny, and wastes no time in breaking the story to the media. This in turn proves such a sensation that even the Presidential Administration of Russia gets involved. All involved are soon brought back to earth however when a headmistress from a provincial...