N.Y.C.

Scientists visit the remote surface and undersea locations to study various species of whales in their natural habitat.

By land, by air, and by sea, viewers can now experience the struggle that millions of creatures endure in the name of migration as wildlife photographers show just how deeply survival instincts have become ingrained into to the animals of planet Earth. From the monarch butterflies that swarm the highlands of Mexico to the birds who navigate by the stars and the millions of red crabs who make the perilous land journey across Christmas Island, this release offers a look at animal instinct in it's purest form.

The parallel lives of writer Truman Capote (1924-84) and playwright Tennessee Williams (1911-83): two friends, two geniuses who, while creating sublime works, were haunted by the ghosts of the past, the shadow of constant doubt, the demon of addictions and the blinding, deceptive glare of success.

Emily Maitlis tells the story of Donald Trump, the world's most famous developer, who changed the New York skyline with his glitzy towers and made himself a multi-billionaire.

Beaches are closed during the COVID-19 pandemic. Nevertheless, the middle class must survive the tropicals.

A group of young skateboarders find direction in their lives when they move to New York and start a pickle business.

The Mona Lisa Curse is a Grierson award-winning polemic documentary by art critic Robert Hughes that examines how the world's most famous painting came to influence the art world. With his trademark style, Hughes explores how museums, the production of art and the way we experience it have radically changed in the last 50 years, telling the story of the rise of contemporary art and looking back over a life spent talking and writing about the art he loves, and loathes. In these postmodern days it has been said that there is no more passé a vocation than that of the professional art critic. Perceived as the gate keeper for opinions regarding art and culture, the art critic has supposedly been rendered obsolete by an ever expanding pluralism in the art world, where all practices and disciplines are purported to be equal and valid. Robert Hughes, however, is one art critic who has delivered a message that must not be ignored.

Le Grice no longer simply uses the printer as a reflexive mechanism, but utilises the possibilities of colour-shift and permutation of imagery as the film progresses from simplicity to complexity… With the film’s culmination in representational, photographic imagery, one would anticipate a culminating “richness” of image; yet the insistent evidence of splice bars and the loop and repetition of the short piece of found footage and the conflicting superimposition of filtered loops all reiterate the work which is necessary to decipher that cinematic image. - Deke Dusinberre

In Untitled (Pink Dot), Murata transforms footage from the Sylvester Stallone film First Blood (1982) into a morass of seething electronic abstraction. Subjected to Murata's meticulous digital reprocessing, the action scenes decompose and are subsumed into an almost palpable, cascading digital sludge, presided over by a hypnotically pulsating pink dot.

Two women – one passive and resigned, the other aggressive and domineering – interact in various locations in New York city. The film explores the dynamic between them before ending with a showdown at the roller-coaster on Coney Island.

A 1963 timelapse recording shows the effects of air pollution during an entire day on Santa Monica Bay in Los Angeles. A machine interpretation of an unstable version of the original file is divided into slits and rearranged in time, giving rise to a time panorama that mirrors an uncertain, abstract future lying ahead of us.