The ‘Casa do Povo’ cultural centre in São Paulo, an icon of the secular Jewish workers’ movement: a crumbling theatre flanked by staircases, entryways and corridors. Construction noise drones away in the background, clinking crockery, a broom sweeping over tiled floors, an expressive façade of countless adjustable panes of glass covered by a patina. It’s October 2016 and a group of young people are preparing a preview of Bickels [Socialism]. The venue is to form a prologue to the completed film, which tours 22 buildings in Israel designed by Samuel Bickels, most of which for kibbutzim. Dining halls, children’s houses, agricultural buildings, bright structures inserted into the Mediterranean landscape with great ingenuity. An architecture with a sell-by date: That many are now empty or have been repurposed at best is linked to the decline of the socialist ideals they embody.

A group of young architects, confined to a forest in Barcelona during the COVID crisis, explore the problems generated by the ambition of wanting to be completely self-sufficient.

For the first time one of Hollywood’s greatest stars tells his own story, in his own words. From a childhood of poverty to global fame, Cary Grant, the ultimate self-made star, explores his own screen image and what it took to create it.

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The titular troublemakers are the New York–based Land (aka Earth) artists of the 1960s and 70s, who walked away from the reproducible and the commodifiable, migrated to the American Southwest, worked with earth and light and seemingly limitless space, and rethought the question of scale and the relationships between artist, landscape, and viewer. Director James Crump has meticulously constructed Troublemakers from interviews (with Germano Celant, Virginia Dwan, and others), photos and footage of Walter De Maria, Michael Heizer, Robert Smithson, Nancy Holt, and Charles Ross among others at work on their astonishing creations.

In 1976 a book was published titled “The Creature” that swept over Bigfoot enthusiasts and researchers all over the state of Pennsylvania. Since then, it has been the most quoted work on the subject of Bigfoot. But, who was the author and was there any truth in the story? The mystery behind the author and the fascinating story known as “The Creature” has never been solved. Was it an elaborate hoax or could the remains of a Bigfoot be buried in the foothills of Pennsylvania.

The images could be taken from a science fiction film set on planet Earth after it’s become uninhabitable. Abandoned buildings – housing estates, shops, cinemas, hospitals, offices, schools, a library, amusement parks and prisons. Places and areas being reclaimed by nature, such as a moss-covered bar with ferns growing between the stools, a still stocked soft drinks machine now covered with vegetation, an overgrown rubbish dump, or tanks in the forest. Tall grass sprouts from cracks in the asphalt. Birds circle in the dome of a decommissioned reactor, a gust of wind makes window blinds clatter or scraps of paper float around, the noise of the rain: sounds entirely without words, plenty of room for contemplation. All these locations carry the traces of erstwhile human existence and bear witness to a civilisation that brought forth architecture, art, the entertainment industry, technologies, ideologies, wars and environmental disasters.

An energetic and fast-paced bio-doc that examines the story behind one of the most prolific and well-known DJs working today: Steve Aoki.

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The film Supervention addresses all aspects of modern free-skiing. The company behind the film has previously won numerous awards within the genre and we meet amazing riders usually not on film, Aksel Lund Svindal and Terje Haakonsen.

A woman walks into a New York gallery with a cache of unknown masterworks. Thus begins a story of art world greed, willfulness and a high-stakes con.

In 1858 Charles Darwin struggles to publish one of the most controversial scientific theories ever conceived, while he and his wife Emma confront family tragedy.