Frames 20th-Century ideologies and dreams of liberation, using found footage. The film presents an account of the period between 1932-1985, juxtaposing two different films in a montage format. One, 18mm home footage of an unknown Danish family, taken before and after WW2. A deadpan camera registers happy holiday moments, the Berlin Olympics (1936), and the World Exhibition in Paris (1937). Secondly, and with the same lack of involvement, we see the liberation of Denmark in May 1945. The second film is a first generation erotic movie, shot in 1972, showing a student's party developing into carnality, reflecting the liberating promises of this newly legalized pornography. The entire montage is accompanied by and interview with Charles Manson, who projects his messianic views from his prison cell. Through its anti-dramatic slide from normality to perversion, the film implicitly challenges the 20th-Century welfare state's promise of freedom to its citizens.

The film intercuts between two days, two years apart. The first: a flight from Vancouver to Halifax, where Charlotte and Cecil, two strangers, meet in seats 3a & 3c and fall in love. The second: a Saturday two years later, where Charlotte and Cecil now a couple, fight, break-up and finally reunite.

A pair of summer and winter weekends intertwine in a series of flashbacks involving five friends. Their dreams and expectations overlap with memories of events that took place in the house that they are sharing, which has a particular significance for all of them.

Richard Dreyfuss-directed short film.

A predecessor to modern reality shows in which a group of modern people live as Britons of the Iron Age.

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Reactionary and aggressive circles in the United States are trying to establish a dictatorship in the country, preparing to assassinate the president and introduce a state of emergency in the country. The conspiracy is led by the FBI director...

Eat the Document is a rarely exhibited documentary of Bob Dylan's 1966 tour of the United Kingdom with the Hawks. It was shot under Dylan's direction by D. A. Pennebaker, whose groundbreaking documentary Dont Look Back [sic] chronicled Dylan's 1965 British tour. The film was originally commissioned for the ABC television series Stage '66. According to Howard Sounes's biography, "Down the Highway: The Life of Bob Dylan", after his motorbike accident in July 1966, Dylan viewed a cut of the material edited by Pennebaker and Bob Neuwirth and thought it was too similar to Dont Look Back. Dylan decided to re-edit the film himself, assisted by longtime associate Howard Alk. Dylan however. Pennebaker stated: "It's not something you learn parking cars in a garage. You gotta know some of the rules and he didn't know any of the rules." It can be assumed Dylan knew some of the rules (he had, after all, seen films) and that some of the unconventional editing choices were deliberate. Dylan and Alk's cut was eventually shown to ABC television, who promptly rejected it as incomprehensible to a mainstream audience.[1] The film includes some powerful live performances of Dylan's songs of the period. It was never given a theatrical release or made commercially available on video, but unauthorized bootleg copies circulate among Dylan collectors. Also circulating in various bootleg formats is a long outtake featuring a possibly alcohol- or drug-impaired Dylan in a limousine with John Lennon. As Dylan shows signs of fatigue, Lennon urges him to get a grip on himself: "Do you suffer from sore eyes, groovy forehead, or curly hair? Take Zimdon!...Come come, boy, it's only a film. Pull yourself together."[2] Todd Haynes's film I'm Not There features a dramatisation of this conversation, with Cate Blanchett as Bob Dylan. Highlights of the film include an interview with the Manchester Free Trade Hall concert-goer who shouted "Judas!" during the second, electric half of the set; the performances with the Hawks; the scenes of Dylan and Robertson in hotel rooms throughout England playing otherwise-unreleased songs; and a piano duet with Johnny Cash. Some of the concert footage shot for Eat the Document - including the "Judas" incident in Manchester's Free Trade Hall - was used in Martin Scorsese's Dylan documentary, No Direction Home.

Series looking at England's history and heritage.

Living history show presented by Fi Glover. Six celebrities travel back in time to the relentless graft of Victorian Britain.