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Wicked 2024 - Movies (Jan 30th)
The Line 2024 - Movies (Jan 30th)
A Quiet Place Day One 2024 - Movies (Oct 2nd)
Cabrini 2024 - Movies (Oct 2nd)
The Girl with the Fork 2024 - Movies (Jan 29th)
Black Girls 2024 - Movies (Jan 29th)
Freelance 2024 - Movies (Jan 29th)
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Dark Night of the Soul 2024 - Movies (Jan 28th)
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The Fish Thief A Great Lakes Mystery 2025 - Movies (Jan 28th)
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Loch Ness Monster Captured 2024 - Movies (Jan 28th)
Echoes Of A Hermit Solitude Resilience and the Power Of Writing 2024 - Movies (Jan 28th)
The Pushover 2024 - Movies (Jan 28th)
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The Tattooist’s Son Journey to Auschwitz 2025 - Movies (Jan 28th)
Tom Green I Got a Mule 2025 - Movies (Jan 28th)
Monster on a Plane 2024 - Movies (Jan 28th)
The Fire Inside 2024 - Movies (Jan 28th)
Den of Thieves 2 Pantera 2025 - Movies (Jan 28th)
Married at First Sight UK - (Jan 30th)
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Live PD Presents- PD Cam - (Jan 30th)
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Ozark Law - (Jan 30th)
Pawn Stars - (Jan 30th)
Dateline- Secrets Uncovered - (Jan 30th)
Watch What Happens Live with Andy Cohen - (Jan 30th)
A League of Their Own - (Jan 30th)
Tipping Point Australia - (Jan 30th)
Tribunal Justice - (Jan 30th)
Chicago P.D. - (Jan 30th)
Gangland Chronicles - (Oct 1st)
Ruby Wax- Cast Away - (Oct 1st)
Deadliest Catch - (Oct 2nd)
Murder in a Small Town - (Oct 2nd)
Slow Horses - (Oct 2nd)
Bad Monkey - (Oct 2nd)
Midnight Family - (Oct 2nd)
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Naked bodies are buffeted by water accompanied by the music Il Temporale from the opera La Cenerentola and the overture to Il Barbiere di Siviglia both by Gioacchino Rossini.
The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.
Cine-diaries about rock bands and personalities from the eighties from the archives of Edgar Pêra.
Lights flicker & fade as focus shifts from artificial to natural light, ending on a second artificial light speeding through the blackened miasma of the night sky.
A collectively made filmic opera in 35 parts. The Black and predominantly queer art collective, an evolving line up of poets and artists from across the world, abstracts and reimagines opera in any traditional conception. Set to hip-hop, blues, noise, R&B and electronica, the piece uses the voice (chanting, singing, screaming; written by poet and activist Dawn Lundy Martin) as its primary tool, verbalising centuries of alienation, vulnerability and protest in the global African diaspora through its disruptive libretto.
Platitudes begin at peaks then rapidly descend and dismantle in order to ascend more acutely until they repeatedly and successively overwhelm.
Trite, closed memories flagrantly bleed into profuse openings mixed & held together by retaliatory colorations & obfuscations.
