"As audiences could see for themselves in a special screening series organised by the Austrian Film Museum in November 2011, Benning’s more recent films move in several directions simultaneously. He picks up on older projects, reworks them, yet at times leaves these behind and makes an utterly fresh start – striking a strange equilibrium between continuity and a new slant on particular models of film aesthetics. 　　Benning has been viewed over the past decade as the USA’s landscape filmmaker par excellence, and at first it seems bewildering to find he has now turned his attention to phenomena of the digital world such as Web 2.0. In »YouTube Trilogy« (2011), Benning organised found material around three thematic clusters which apparently have little in common. The first section focuses on children of various religious affiliations singing: »Agnus Dei« in the crystal-clear voice of a boy from the Vienna Boys’ Choir, two girls singing a »Shalom« song, a teenager belting out into Leonard Cohen’s »Hallelujah« and a solo of an Arabic song by a young girl. These young people making music in a range of formats produce different types of intimacy. Whilst the Vienna Boys Choir piece is clearly taken from a television recording and exudes a sense of the official nature of the event, most of the other videos bear the hallmarks of youthful (YouTube-style) self-staging. These tensions function in a sense as a prelude to Benning’s attempt to give shape to a kind of concealed artistic autobiography by compiling and processing found video clips. He describes this part of the film as »my own sketchy tongue-in-cheek history«2 and thus establishes an arc of narrative tension underpinning what at first sight seem to be unconnected snippets – a man describes how a pistol works, President Eisenhower gives a speech, someone tries on a blue dress in a yellow window frame. Nonetheless the clips, filmed directly from the computer screen, function not so much in terms of what nonetheless remains an arbitrary combination but rather through the prism of the unique character of each scene. That makes the autonomy asserted by Benning even more questionable; while he claims authorial sovereignty over the digital found pieces, this ultimately gives rise to an idiosyncratic cryptograph. In the third section – with the deliberately attention-grabbing title »Asian Girls« – Benning picks up on the issue of the Internet’s typical categorisations, yet struggles to shift these categories away from the terrain of stereotype. "

Play by Howard Barker about a sculptor who works to finish off a memorial to the Royalist years, as Cromwell's men break down the surrounding cathedral walls. (from http://ftvdb.bfi.org.uk/sift/title/315346) 　　download: http://britbitsandclips.com/AR_TV.htm 　　script: http://britbitsandclips.com/PityinHistory.htm

Marlon Cruz, a young Colombian man who motivated by his girlfriend Reina, leaves his comfortable life in Medellin and flees with her through Guatemala and Mexico, across the borders, illegally into the United States.

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Owen Tillerman and his family live an unconventional life in New York's bustling Central Park, which Owen manages. Now, they'll have to fend off a wealthy hotel heiress who wants to turn the park into condos.

Tim, a struggling, irresponsible drug peddler drifting through the desolate streets of California's Central Valley, is thrust into caring for his bright young nephew after a family tragedy, forcing him to confront his demons and fight for a better future for his nephew.

Jarle Klepp is a 25-year-old student of literature with a passion for Adorno, Proust and grown-up women - and definitely not Tamagotchis, Lady Di and small kids. The news that he is the father of a seven year old girl - and that she will come visiting next week - enters his life like a nuclear bomb. Jarle Klepp has to become an adult.