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Each woman gets to go on three virtual dates with a man wearing a go pro strapped to his chest, so she feels like she's there but she can't see what he looks like. After the three "dates" she chooses one to continue the relationship with still sight unseen.

How Do You See Me? is a Brazilian documentary feature that entwines both experienced actors and beginners to explore the hardships and the happiness that are inherent to the job when detached from the glam and glitz of the gossip industry, creating a diverse and comprehensive mosaic of what it means to be an actor in Brazil, a country so full of contradictions. The film brings forward a reality that the masses usually don't get to know: the men and women moved by a deep passion for acting and touching people. With Julio Adrião, Matheus Nachtergaele, José Celso Martinez, Cássia Kis, Nanda Costa, Babu Santana, Luciano Vidigal and Letícia Sabatella, among others.

Gwen and her boyfriend Adam stumble into an open relationship. However, the light-hearted experiment gradually turns into a flurry of jealousy and unforeseen feelings. As their relationship is put under more and more pressure, Gwen has to face a familiar fear: of being alone.

Jeong-ha is curious about the relationship between her coworkers Hyeong-won and Su-jin. They once seemed like a couple, so why do they seem to resent each other now? Their true feelings remain a mystery, and Jeong-ha can't stop thinking about them. Then, one day, Su-jin reaches out to her.

The head of the family, Maksim Obad, has a problem with the authorities, because he betrayed a friend, which took Dimitrije to labor camp. Maksim’s life wish is to build a family tomb and to specify in his will that after his death half of the estate is sold and transferred to the family of his former friend and victim. This decision does not please his son and daughter-in-law, who are afraid that old Maksim's conscience will deprive them of their inheritance.

Okay Keskidee! Let Me See Inside is a love letter to the UK Caribbean diaspora, exploring black histories, physical spaces and notions of community. The site of the Keskidee Centre, a pioneering Afro-Caribbean cultural centre, is now occupied by luxury apartments. The closure of such valued spaces where people could gather and organise coincided with the rise of a political discourse which led to a lack of documentation of Black Caribbean pasts. Working on the surface of the film image itself – making use of a rostrum camera and optical printer – filmmaker Rhea Storr reflects on the histories that remain trapped in the archive and how capitalism has affected our connection to the past.

The fourth instalment in the franchise. Plot TBA.

A woman vanishes after exclaiming to her husband, "You'll never see me again!" He is then finds himself under suspicion.

In his home studio and revisiting old haunts in Shepherds Bush and Battersea, Pete Townshend opens his heart and his personal archive to revisit 'the last great album the Who ever made', one that took the Who full circle back to their earliest days via the adventures of a pill-popping mod on an epic journey of self-discovery. But in 1973 Quadrophenia was an album that almost never was. Beset by money problems, a studio in construction, heroin-taking managers, a lunatic drummer and a culture of heavy drinking, Townshend took on an album that nearly broke him and one that within a year the band had turned their back on and would ignore for nearly three decades. Contributors include: Pete Townshend, Roger Daltrey, Ethan Russell, Ron Nevison, Richard Barnes, Irish Jack Lyons, Bill Curbishley, John Woolf, Howie Edelson, Mark Kermode and Georgiana Steele Waller.