An ordinary person is bestowed with extraordinary power.

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A nanny is hired by a troubled mother and finds herself fighting to hold together the entire family when she realizes the woman has an imaginary daughter.

After inadvertently killing his girlfriend, a man flees Macau for Thailand in an attempt to cope with his guilt, and avoid possible arrest. But the relocation doesn't prevent his problems from following him, as his new friends could be potential enemies.

The story is about an invisible/ghostly twin following her sister.

In 1971 Gardner hired Robert Fulton (the great grandson of the inventor of the steamboat), to teach filmmaking at the Carpenter Center for the 1971-72 year; and during this brief tenure, Fulton produced Reality's Invisible, one of the remarkable experimental documentaries of the era-- and (as is true for Fulton's entire oeuvre) of of the most underappreciated. Fulton would go on to make a substantial body of work --though as yet, no one has compiled anything like a definitive Fulton filmography... 　　[...] 　　In keeping with the Carpenter Center itself, which is described on the Center's website as a reflection of Le Corbusier's belief that " a building devoted to the visual arts must be an experience of freedom and unbound creativity" and must represent a "'synthesis of the arts', a union of architecture with painting, sculpture," Fulton's film provides a cinematic experience as far from the conventional as the Carpenter Center is from the Harvard buildings that surround it. Indeed, the experience of Reality's Invisible often verges on the overwhelming; it combines myriad kinds of imagery and approaches to shooting with dizzying editing to provide a phantasmagoria of life in and around the building and a paean to unbounded cinematic freedom. Reality's Invisible has the celebratory energy of Dziga Vertov's The Man with a Movie Camera (1929) but without the structure provided by that City Symphony's composite day -- though as Reality's Invisible unfolds, we do begin to recognize a variety of motifs in addition to the Carpenter Center building itself: particular individuals (including Robert Gardner)), kinds of activities, editing rhythms. 　　[...] 　　...Reality's Invisible is full of multilayered imagery: we are regularly seeing one image and one kind of image through others. Fulton uses more, and more complex, layers of superimposition than any other filmmaker I am aware of, with the possible exception of Brakhage, whose Dog Star Man (1964) seems a particularly important influence of Fulton. Since each layer of Fulton's superimposition is made up of quickly shifting imagery, or is interrupted by split screen imagery of one design or another, the effect of Reality's Invisible is something like a cinekaleidoscope. To use a phrase of one of the students, Fulton's epic celebration of the Carpenter Center is a form of "serious playing around": it reflects on and embodies the high-spirited, deeply serious work and play that the building represents to him. 　　－－－from "American Ethnographic Film and Personal Documentary: The Cambridge Turn" by Scott MacDonald 　　What makes an institution? This is a question which animates Program, an ongoing project by artist Martin Beck at Harvard’s Carpenter Center for the Visual Arts that has taken shape as a series of interventions, publications, and related events around the Center’s particular histories. For a recent episode of Program, Beck screened a fascinating yet largely forgotten work by Robert Fulton, Reality's Invisible, and produced a DVD with designer James Goggin of the otherwise unavailable film that was then distributed to students pursuing art and cinema at the university. 　　Fulton made the film during his brief time at Harvard, where he had been invited to teach by Robert Gardner, his friend and collaborator (Fulton would later serve as a cinematographer on Gardner’s 1981 documentary Deep Hearts, among others). Reality's Invisible could be described as a portrait of the Carpenter Center, yet it is a portrait of an extremely idiosyncratic and distinctive sort. Fulton moves us through the concrete space of the Center’s Le Corbusier-designed building—the only structure by the architect in North America—but, more centrally, presents us footage of students making and discussing their work alongside figures like Gardner, theorist Rudolf Arnheim, artist Stan Vanderbeek, filmmaker Stan Brakhage, and graphic designer Toshi Katayama. Fulton reconfigures these basic elements in a radically non-linear fashion, structuring the film as a breathtakingly rapid stream of sounds and images, using oblique angles, saccadic camera movement, single-frame shots, dynamic superimpositions, elaborate rephotography, direct animation and numerous other techniques to convey the manifold activities and ideas generated within and around the Carpenter Center. 　　In a subsequent discussion with Arnheim and Gardner on Gardner’s television program Screening Room, Fulton described his process behind Reality's Invisible. “Normally we think of an image as an information-conveying unit,” he explained. “Well, more than that, it does have kinesthetic properties, in that it generates a certain energy, a certain ‘tone’ if you like.” Elsewhere, he describes his goal to “construct overall cadences” out of the records of individual perceptions, employing a musical metaphor in order to venture beyond historical notions of film form. Reality's Invisible thus serves as an exemplary instance of a larger project taking place around Boston that scholar Scott MacDonald has termed “the Cambridge turn,” a rethinking of documentary involving not only Gardner and his circle, but also filmmakers such as Frederick Wiseman, Ed Pincus, and Ross McElwee, to name just a few. Fulton’s film perfectly captures this era's spirit of inquiry, both through its unconventional strategies and the way its very composition mirrors an experimental ethos of art education. 　　－－－Lightindustry

As millions die each year from superbug infections, a Chilean scientist makes it her mission to find new antibiotics in the salt lakes of the Atacama Desert. Through microscopic imagery and staggering vistas of the landscape, we take in the urgency of the scientist’s work and the scale of the battle as lithium mining poses a serious threat to the region’s delicate ecosystem.

Inspired by the original 1897 novel by H.G. Wells, the pilot film depicts Daniel Westin working for a company called the Klae Corporation, which is doing experiments in teleportation. He discovers the side effect of his work is the ability to turn objects invisible.

The Invisible Man is a Sci-Fi American television series starring Vincent Ventresca, Paul Ben-Victor, Eddie Jones, Shannon Kenny and Michael McCafferty. Somewhat more successful than previous television series involving invisible secret agents, it aired from June 9, 2000 to February 1, 2002, lasting two seasons.The plot revolves around Darien Fawkes, a thief facing life imprisonment who was recruited by a low-rent spy organization and given the power of invisibility via implantation of a special "Quicksilver gland" in his head. The gland allows Fawkes to secrete a light-bending substance called "Quicksilver" from his pores and follicles. The substance quickly coats his skin, hair, nails and clothes and renders him invisible. He can consciously release the Quicksilver, which then flakes off and disintegrates. However, the Quicksilver gland was sabotaged at its creation by scientist Arnaud DeFehrn to release a neurotoxin that accumulates in the bloodstream and causes intense pain, followed by antisocial behavior and psychosis. The host requires regular doses of "counteragent" to keep him sane and healthy, which is controlled by said government agency. This series lasted for two seasons, before being cancelled due to cost issues and internal bickering between the Sci Fi Channel and its then-parent company, USA Networks. The show's first season ran concurrently in first-run syndication as well as on Sci Fi.

Written by Raymond Briggs, this beautifully animated film tells the story of ten-year-old John. After being woken up early one morning. John finds a big invisible something sitting on his bed.