A game show featuring a champion and challengers.

Documentary about photographer Brian Duffy.

Pauline Kael (1919–2001) was undoubtedly one of the greatest names in film criticism. A Californian native, she wrote her first review in 1953 and joined ‘The New Yorker’ in 1968. Praised for her highly opinionated and feisty writing style and criticised for her subjective and sometimes ruthless reviews, Kael’s writing was refreshingly and intensely rooted in her experience of watching a film as a member of the audience. Loved and hated in equal measure – loved by other critics for whom she was immensely influential, and hated by filmmakers whose films she trashed - Kael destroyed films that have since become classics such as The Sound of Music and raved about others such as Bonnie and Clyde. She was also aware of the perennial difficulties for women working in the movies and in film criticism, and fiercely fought sexism, both in her reviews and in her media appearances.

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What does music composed by artificial intelligence sound like? American synthpop group Yacht is embarking on a radical creative experiment: letting a computer write their next album.

Strips of previously unexposed film went into the ocean, and these fragments are what returned. In this final installment of a nine year project documenting the underwater world off the coast of South Carolina, both the sounds and images are the result of the oceanic inscriptions written directly into the emulsion of the film as it was buffeted by the salt water, sand and rocks; as it was chewed by the crabs, fish and underwater creatures.

The result of a series of camera-less collaborations between the filmmaker, the Atlantic Ocean, and a crab trap. For three days in January and three days in October of 1997, and again, for a day, in August of 1998, lengths of unexposed, undeveloped film were soaked in a crab cage on a South Carolina beach. Both the sound and image are the result of the ensuing oceanic inscriptions written directly into the emulsion of the film as it was buffeted by the salt water, sand, rocks and shells.

The result of a series of camera-less collaborations between the filmmaker, the Atlantic Ocean, and a crab trap. For three days in January and three days in October of 1997, and again, for a day, in August of 1998, lengths of unexposed, undeveloped film were soaked in a crab cage on a South Carolina beach. Both the sound and image are the result of the ensuing oceanic inscriptions written directly into the emulsion of the film as it was buffeted by the salt water, sand, rocks and shells.

Strips of previously unexposed film went into the ocean, and these fragments are what returned. In this final installment of a nine year project documenting the underwater world off the coast of South Carolina, both the sounds and images are the result of the oceanic inscriptions written directly into the emulsion of the film as it was buffeted by the salt water, sand and rocks; as it was chewed by the crabs, fish and underwater creatures.

Documentary featuring interviews with director Norman Jewison and others providing an in-depth look at the production of the 1967 film IN THE HEAT OF THE NIGHT.