A rising but troubled musician searches for the inspiration to record one last song, pushing himself deep into the void.

The digital revolution of the last decade has unleashed creativity and talent of people in an unprecedented way, unleashing unlimited creative opportunites. But does democratized culture mean better art, film, music and literature or is true talent instead flooded and drowned in the vast digital ocean of mass culture? Is it cultural democracy or mediocrity? This is the question addressed by PressPausePlay, a documentary film containing interviews with some of the world’s most influential creators of the digital era.

Born on a sharecropping plantation in Northern Florida, Ray Charles went blind at seven. Inspired by a fiercely independent mom who insisted he make his own way, He found his calling and his gift behind a piano keyboard. Touring across the Southern musical circuit, the soulful singer gained a reputation and then exploded with worldwide fame when he pioneered couping gospel and country together.

Follow the offstage, unlikely romance of the king of country, Blake Shelton, and pop princess, Gwen Stefani. Both stars braved their share of challenges on the way to writing their own love song.

A portrait of Beyoncé strips away the veneer of stardom to display the extraordinary gifts that have made this 16-time Grammy®-winner, entrepreneur and actress a global phenomenon.

What happens when a generation’s ultimate anti-authoritarians — punk rockers — become society’s ultimate authorities — dad’s? With a large chorus of Punk Rock’s leading men — Blink-182’s Mark Hoppus, Red Hot Chili Peppers’ Flea, Rise Against’s Tim McIlrath — The Other F Word follows Jim Lindberg, 20-year veteran of skate punk band, Pennywise, on his hysterical and moving journey from belting his band’s anthem, ‘Fuck Authority’, to embracing his ultimately pivotal authoritarian role in mid-life, fatherhood.

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A pair of bus drivers accidentally steal their own bus. With the company issuing a warrant for their arrest, they tag along with a playboy on a boat trip that finds them on a tropical island, where a jewel thief has sinister plans for them.

Sara joins Julliard in New York to fulfill her and her mother’s dream of becoming the Prima ballerina of the school. She befriends her roommates, Zoe and Miles, who teach hip-hop classes. She has ballet classes with the rigid and famous Monique Delacroix that she idolizes – Monique requires full commitment, discipline and hard work from her students. When Miles, who is a composer, invites Sara to help him compose the music for the dance choreography Sara’s passion for hip-hop is sparked and she also falls in love with Miles. When she is assigned to perform Giselle in an important event, she feels divided between the technique of the ballet and the creative work offered by Miles.

The Boat that Rocked is an ensemble comedy, where the romance is between the young people of the 60s, and pop music. It’s about a band of DJs that captivate Britain, playing the music that defines a generation and standing up to a government that wanted control of popular culture via the British Broadcasting Corporation. Loosely based on the events in Britain in the 60’s when the Labour government of Harold Wilson, wanted to bring the pirate stations under control, enough to see the passage of the Marine Broadcasting Offences Act on 15 August 1967

Artifact is a 2012 American documentary film directed by Jared Leto under the pseudonym of Bartholomew Cubbins, a recurring character in the Dr. Seuss universe. The film is a documentary about the making of the 30 Seconds to Mars album This Is War and the band’s battle against record label EMI. Included in Artifact are several interviews, including the one with neurophysicist Daniel Levitin, author of the popular science book This Is Your Brain On Music. The film won the BlackBerry People’s Choice Documentary Award at the 2012 Toronto International Film Festival.

A wilfully offensive band, The Mentors gained infamy for performing in black executioner hoods and spewing cartoonishly racist, homophobic and misogynistic lyrics in the 1980s and ‘90s—but was their use of shock meant to propagate hate or confront it?