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一部犯罪惊悚片，聚焦于一名白天是正派公民的神偷。

Documentary about the making of Mario Bava's A BAY OF BLOOD.

Fired for insubordination, PJ Antoine Verlay, good cop but a blood strand and having difficulty working as a team, is attached to the OCBC (Central Office for the fight against Traffic in Cultural Goods) thanks to the intervention of the commander Pardo, his friend who becomes, therefore, his new superior. A clever investigator, but a stranger to everything related to culture, Antoine will have to work with Florence Chassagne, renowned art historian, who lives, speaks and breathes culture, to the point that - fruit of her great imagination - it happens to her in the midst of daydreams, to see and talk to the great artists who have disappeared as if they were familiar to her.

A Romani antique dealer, who is also a private detective, gets involved in a murder case when one of his colleagues is accused of committing the murder.

Behind the scenes documentary of Lars von Trier's The Element of Crime (1984).

A young American computer hackeress is hired by a liberal British lawyer to right the wrong done to a third world country by a London investment company. Even the expertise of her building inspector sidekick can not prevent a surprising development though.

"Who else but Whistler made us see that fog was beautiful or love the night?" asked Oscar Wilde, sometime friend of the irascible artist who is the subject of this Omnibus episode. James McNeill Whistler was a turn-of-the-century Bohemian, who escaped from his New England background to discover the louche life in Paris and London. His later style, impressionistic to the point of abstraction, pre-empted modernism by nearly 20 years. In reply to an impertinent judge who suggested he was charging 200 guineas for two days' work, Whistler replied: "No - I ask it for the knowledge of a lifetime". James Runcie's film re-creates some of Whistler's most famous paintings, including the portrait of his mother, in studio tableaux. It also records many of the artist's celebrated run-ins with the critics of his day (he collected his attacks on the critics in a volume from which this film takes its title: The Gentle Art of Making Enemies).

Robert Pattinson and Willem Dafoe describe their on-set experiences alongside Robert Eggers and the crew that brought the world of 1890s Maine to life, featuring interviews with Cinematographer Jarin Blaschke, Production Designer Craig Lathrop, and Costume Designer Linda Muir (all repeat collaborators of Robert Eggers).

A former alcoholic and a rich macho man are fighting for the attention of a young woman while the killer periodically hunts for the next victim.