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Captain Zero: Into the Abyss Part II is an Animated Short Film about an amateur teen superhero who begins experiencing a series of blackouts which he discovers is caused by his Depression demon--A physical manifestation of all his deep seated insecurities. And now, in order to defeat this demon and stop the blackouts he must be willing to confront his worst nemesis-Himself.

Julia is a woman searching for the meaning of life. When Julia is kidnapped by a homeless man, she is transported to a magic world where she will have to fight fantastic creatures.

With the Middle East on the brink of war, Four Corners travels to Iran, Lebanon and Israel to investigate why a new regional war is looming.

Israel and the Arabs: Elusive Peace is the name of a three-part British documentary series shown in October 2005 on BBC Two about the attempts to settle the Israeli–Palestinian conflict after the 2000 Camp David Summit. The series was produced by Norma Percy, who had produced The Death of Yugoslavia before. Like her previous series, Israel and the Arabs: Elusive Peace relies extensively on in-depth interviews with key players involved in this issue, such as Ehud Barak, Bill Clinton, and Colin Powell.

This feature length investigation by Al Jazeera’s Investigative Unit exposes Israeli war crimes in the Gaza Strip through the medium of photos and videos posted online by Israeli soldiers themselves during the year long conflict. The I-Unit has built up a database of thousands of videos, photos and social media posts. Where possible it has identified the posters and those who appear. The material reveals a range of illegal activities, from wanton destruction and looting to the demolition of entire neighbourhoods and murder. The film also tells the story of the war through the eyes of Palestinian journalists, human rights workers and ordinary residents of the Gaza Strip. And it exposes the complicity of Western governments – in particular the use of RAF Akrotiri in Cyprus as a base for British surveillance flights over Gaza.

In Mirai (The Abyss), Gabriel Andrés De Simone works with striking economy, drawing on the visual and affective world of Ghost of Tsushima to shape a compact meditation on conscience under pressure. Beginning from a textual intervention, the film opens onto a reflection on what prolonged exposure to violence does to judgment, feeling, and moral resistance. Its brevity gives the work concentration. De Simone introduces friction into the game’s dramatic logic, shifting attention from action to aftertone, the emotional and ethical residue left once repetition has drained experience of its force. What happens when violence no longer registers as rupture but begins to organise the atmosphere of experience? Mirai (The Abyss) addresses that question with notable precision. Its mood is one of quiet corrosion. The work draws its force from restraint and from the sense that deeper forms of transformation often occur incrementally, through attrition. De Simone uses the game world to think through the dulling of response itself: the dangerous normalisation by which the intolerable becomes ordinary.

A coming-of-age tale of two boys trying to survive amidst rampant corruption and gang violence.