The film is based on real events. The action takes place during one of the meetings of the Commission for Pardons. A petition from a young man, who killed two people, is being reviewed, one of whom was the son of an influential person. At the same time, in the correctional facility where he is serving his sentence, a hostage situation unfolds (another real case, supported by documentary footage included in the film). In such an environment—one of psychological pressure—the members of the Commission must make the right decision...

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Property programme in which prospective house buyers are shown around two properties selected by the presenters and a 'wild card' selection in a bid to find them an ideal new home.

'To be or not to be' tells the story of Joel, a 16-year-old trans teenager who dreams of becoming a great performer, while also facing the emotional challenges of his recently begun transition.It is a naturalistic series that addresses a highly current topic without prejudice and sheds light on the experiences of a group unknown to many or poorly understood by others. It aims to be a transformative series, which gives visibility and naturalizes with freshness and humor the ever-widening range of identities and gender expressions of today's young people.

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是做一只鸟，还是不做，这是个问题。通过一些鸟儿的悲喜交加、荒诞离奇的经历，对当下世界进行了批判性的、丰富多彩的审视。

Filmmakers talk about their experiences - about success, failure and social participation. Who is seen, and who can show themselves?

Birmingham, 1979. An orphaned girl and her estranged uncle try to navigate their grief, connecting through faith, and the creation of a kite.

Daffy challenges duckhunter Elmer to a boxing match, rigged in his favor with the collusion of the duck referee. In the stands, Elmer's dog Larrimore suspects that something funny is going on, but he's drowned out by Daffy's all-duck cheering section.

Considering that Musakov’s Abdulladzhan (1991) was dedicated to Steven Spielberg, we might suggest that these four boys embody nothing more complicated than a conflict of youthful innocence with some ominous threat—the basic workings of E.T. (1982) or War of the Worlds (2005), say. That threat, however, is best understood not through vague nationalism or warmed-over socialism, but through the other reference-point of Abdulladzhan—Tarkovskii’s Stalker (1980). Musakov leaves his boys in a simplified radiance so bright and so overexposed that it no longer looks like the skies of sunny Tashkent, but a disturbing, borderless luminosity to match the flat tonal range of Stalker’s “Zone.” Our Uzbek boys are nowhere in particular; this is a broader domain than anything international.