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Moby Dick is an unfinished film by Orson Welles, filmed in 1971. It is not to be confused with the incomplete (and now lost) 1955 film Welles made of his meta-play Moby Dick—Rehearsed, or with Moby Dick (1956 film), in which Welles played a supporting role. The film consists of readings by Welles from the book Moby Dick, shot against a blue background with various optical illusions to give the impression of being at sea. It was made during a break in the filming of The Other Side of the Wind. There is some ambiguity about what Welles intended to do with the footage, and how he was going to compile it. It remained unedited in his lifetime.

A group of dancers congregate on the stage of a Broadway theatre to audition for a new musical production directed by Zach. After the initial eliminations, seventeen hopefuls remain, among them Cassie, who once had a tempestuous romantic relationship with Zach. She is desperate enough for work to humble herself and audition for him; whether he's willing to let professionalism overcome his personal feelings about their past remains to be seen.

From the moment she glimpses her idol at the stage door, Eve Harrington is determined to take the reins of power away from the great actress Margo Channing. Eve maneuvers her way into Margo's Broadway role, becomes a sensation and even causes turmoil in the lives of Margo's director boyfriend, her playwright and his wife. Only the cynical drama critic sees through Eve, admiring her audacity and perfect pattern of deceit.

The film is based on the stories Anton Chekhov. It is a tribute to the actor Boris Andreyev. He plays a major role that keeps up for the duration of the film. Lively and intelligent Valery Spout largely mitigates underline the drama of the protagonist, while Michael Sveta's role, though small, is bright and memorable.

New York, 1937. A teenager hired to star in Orson Welles' production of Julius Caesar becomes attracted to a career-driven production assistant.

An actress rehearses behind closed doors scenes from the trial of Joan of Arc, confronted with the view that spectators have character.

Set against the backdrop of post-war Britain, John Osborneʼs modern classic conjures the seedy glamour of the old music halls for an explosive examination of public masks and private torment.

Chronicles from Kashmir seeks to create a sense of “balance”: between differently positioned voices that emerge when speaking about Kashmir; between differently placed narratives on the “victim”/“perpetrator” spectrum. While there is an inevitable streak of political commentary that runs throughout the work – a political current that cannot be escaped when talking about Kashmir – Chronicles from Kashmir does not espouse any one political ideology. We see ourselves as being artists and educators, using aesthetics and pedagogy to engage audiences with diverse perspectives from/about the Valley.

From Paris to Venice to Broadway to Hollywood, the lives of Cole Porter and his wife, Linda Lee Thomas were never less than glamorous and wildly unconventional. And though Cole's thirst for life strained their marriage, Linda never stopped being his muse, inspiring some of the greatest songs of the twentieth century.

Germany is in uproar; the new government has adopted a law which enables a government-controlled censorship. Media and cultural facilities are being inspected. The theatre house of Jan Reeberger is one of the inspected institutions. During the inspection two different world views collide, on the one side, there’s Jan with his idealistic and cosmopolitan worldview, on the other side, there’s Micky who is standing up for the new political system.

Young Africans in Paris face insecurity and vague future. Should they stay in France, or return to their homes?