Philip Johnson has always been on the forefront of stylistic change, and his property in New Canaan, Connecticut, is a kind of laboratory where Johnson is his own best client. It was there that he built the famous “Glass House” he still resides in. This building has no walls (the landscape became “expensive wallpaper”); an accompanying guest house, by contrast, has no windows, though it is light and sensuous inside. We visit these, as well as the gallery which houses Johnson’s extensive collection of contemporary art on its revolving walls. 　　“My latest folly”, says Johnson, “is to build buildings without straight lines…It’s the first time I’ve had a building I can’t draw and have to design partially as it goes up.” This new structure is at the core of the video, and we get to see the sculptural building from its initial stages to completion. The video depicts Johnson at work and the importance of the architectural act, the actual construction, and how the buildings interact with their environment, in this case the autumn leaves or snow of New Canaan.

William Bowman is a small town boy with small town dreams. And like any average teenager, when approached with the subject of his future, Bowman would often retreat into the safe recesses of his mind. When a concussion seemingly sends William to an uncertain future, what follows is a series of hilarious capers from William’s status as an average teenager to a nationwide media phenomenon. Is William a product of bad luck? Good luck? Or is his future subject to miracles and unlikely circumstances?

When a project to build a thousand flats in Oslo is put out to tender, architect Julie has an idea: why not convert empty underground car parks into residential buildings? A pitch-black, keenly observed satire about an all-too-near future.

When a couple sets out to build their dream house, they enlist the services of an uncompromising modernist architect, who proceeds to build HIS dream house instead of theirs.

Architect A is an architect who builds a house in a very special way. He builds a house that resembles the way that person has lived by collecting materials from the client's life. However, he gives up on architecture after an unexpected accident. One day, an elderly woman comes to his house and shows out a fish-shaped wind chime, which A and his wife sculpted a long time ago, requesting A to build her own house. Architect A hesitates because of his trauma after the unexpected accident, but the fish-shaped wind chime brought back the beautiful memories with his wife and that made him accept the request. In the process of building a house, flashing back an elderly woman's life, Architect A faces his painful memories, but he finally completes the request and finishes building his own house as well, which has not been completed for a long time due to his trauma.

19世纪的欧洲，一名艺术窃贼躲避着一心想要抓住他的调查员。

An art thief in 19th century Europe eludes an investigator out to get him.

Low budget vampire film.

The Education of Max Bickford is a television drama that aired from 2001 to 2002 on CBS. It starred Richard Dreyfuss as the title character, a college professor of American Studies at Chadwick College, an all-women's school in New Jersey. Also starring was child actor Eric Ian Goldberg, who portrayed the young Lester Bickford, Max's son. Max's colleagues included Marcia Gay Harden as Andrea Haskell, his former student who had recently joined the faculty, and Helen Shaver as his best friend Erica, previously known as Steve before her transition. Max's daughter Nell, played by Katee Sackhoff, attended the college.

A Black boy’s journey through an ineffectual public school system reveals the racial inequities built into everyday British life. Young Kingsley Smith (Kenyah Sandy) is a spirited aspiring astronaut with a love of drawing whose life is turned upside down when he is thrust into a new school for the “educationally subnormal”—a harrowing experience that gradually awakens his mother (Sharlene Whyte) to the institutional mistreatment of the children of West Indian immigrants. Shot on Super 16 mm to evoke BBC television dramas from the 1970s, the final Small Axe film concludes the pentalogy with a hopeful vision of the power of Black-led collective action.