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A news cameraman attempts to rescue a mother trapped in the rubble of her decimated home during the 2010 Haiti earthquake, and learns the true meaning of compassion after seeing the tragedy through his own two eyes rather than the lens of his camera. Based on actual events.

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A kindly old man sends his grandson off to see the world. From the window of the train, the child discovers the problems plaguing this planet and imagines solutions to promote the happiness of children everywhere. A synthesis of Volume 1 of the Rights from the Heart/Droits au c÷ur collection, this animated film for five- to eight-year-olds puts the issue of children's rights in an international context.

Compilation of classic British comedy moments

Do we all see the same thing when we share the same public space? This immersive, interactive installation playfully disrupts the notion that reality is an objective truth. When participants stand in front of the mirrored cube and look through the stereoscopic spyholes, they are presented with an optical illusion created through a combination of analog and digital technologies. In a kaleidoscopic, alternative reality, observers see their double from above, peering into the box, as a series of small events unfolds. This disorientating sensory experience raises questions about our perception of reality. Can we ever fully see and understand it? Or is reality a construct of our own making?

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Based on the novel by Kevin Wilson.

In Germany, jazz had a voice: Inge Brandenburg. This is the story of a woman in the 1950s and 1960s, when there was no place in Germany for self-assured women with international aspirations, a dramatic performance style and an emancipated attitude to love.

The work of sculptor Inge Hardison is the subject of this beautiful short portrait of an artist. Hardison is perhaps best known for "Negro Giants in History," her important series of busts made during the early 1960s. Hands of Inge was edited by Hortense "Tee" Beveridge, a pioneer in her field who worked in the commercial industry and on independent, non-commercial films such as Amiri Baraka's 1968 film "The New-Ark". In the mid-1950s Beveridge became the first Black woman to gain admission to Local 771, the motion picture editors union.