The filmmakers challenge former Indonesian death-squad leaders to reenact their mass-killings in whichever cinematic genres they wish, including classic Hollywood crime scenarios and lavish musical numbers. Anwar Congo and his friends have been dancing their way through musical numbers, twisting arms in film noir gangster scenes, and galloping across prairies as yodeling cowboys. Their foray into filmmaking is being celebrated in the media and debated on television, even though Anwar Congo and his friends are mass murderers.
Medan, Indonesia. When the government of Indonesia was overthrown by the military in 1965, Anwar and his friends were promoted from small-time gangsters who sold movie theatre tickets on the black market to death squad leaders. They helped the army kill more than one million alleged communists, ethnic Chinese, and intellectuals in less than a year. As the executioner for the most notorious death squad in his city, Anwar himself killed hundreds of people with his own hands.
The Act of Killing is about killers who have won, and the sort of society they have built. Unlike ageing Nazis or Rwandan génocidaires, Anwar and his friends have not been forced by history to admit they participated in crimes against humanity. Instead, they have written their own triumphant history, becoming role models for millions of young paramilitaries. The Act of Killing is a journey into the memories and imaginations of the perpetrators, offering insight into the minds of mass killers. And The Act of Killing is a nightmarish vision of a frighteningly banal culture of impunity in which killers can joke about crimes against humanity on television chat shows, and celebrate moral disaster with the ease and grace of a soft shoe dance number.

Marc-André Leclerc climbs alone, far from the limelight. On remote alpine faces, the free-spirited 23-year-old Canadian makes some of the boldest solo ascents in history. Yet, he draws scant attention. With no cameras, no rope, and no margin for error, Leclerc's approach is the essence of solo adventure.
Nomadic and publicity shy, he doesn't own a phone or car, and is reluctant to let a film crew in on his pure vision of climbing. Filmmaker Peter Mortimer sets out to make a film about Leclerc but struggles to keep up with his elusive subject. Then, Leclerc embarks on a historic adventure in Patagonia that will redefine what is possible in solo climbing.

The fourth episode starts off with the two riding through Santa Cruz, Argentina. The plan is to cross over into Chile and then going up into the Andes. Ewan and Charley head through Argentina’s red rock landscape while a member of their team copes with altitude sickness. The duo are well and truly underway and the first signs of all are well is how well the Harleys hold up in challenging conditions. The roads alternate between unforgiving and pleasant and these e-bikes push through effortlessly. As they ride through Chilean Andes, the audience is shown a picturesque view of the beauty of the countryside, an experience which Boorman calls 'magical.'

Art critic Andrew Graham-Dixon tells the incredible story of Russian art, its mystery and magnificence and until now a story untold. He explores the origins of the Russian icon from its roots in Byzantium and the first great Russian icon, Our Lady of Vladimir to the masterpieces of the country's most famous icon painter, Andrei Rublev. Both epic and awe-inspiring, and producing brilliant art", nevertheless medieval Russia could be a terrifying place. Criss-crossing the epic landscape, Andrew visits the monastery founded by Ivan the Terrible, where his favourite forms of torture found inspiration in religious art. One man would shine a light into Russia's 'dark' ages - Peter the Great who, surprisingly, took as his inspiration Deptford in South London.

This widely praised by critics film was created with cooperation from Paul McCartney, Ringo Starr and the widows of John Lennon and George Harrison. Filmmaker Peter Jackson delves into invaluable footage archives to make a film that shows the truth about the Beatles recording together the album Let it Be, which had the working title of Get Back. The production employed film restoration techniques developed for Jackson's previous works on sixty hours of film footage and 150 hours of audio, spending four years in editing the series. The final cut covers 21 days in the studio with the Beatles and climaxes with the full 42-minute rooftop concert.
In part I, the Beatles begin rehearsing at Twickenham Studios for what is at first meant to be a television special about the recording of their next album leading up to a live show at a location to be determined. During the sessions, Paul McCartney and George Harrison play some songs that would later appear on their respective solo albums. After seven days of rehearsals, Harrison abruptly leaves the group.

They defined music and popular culture like no other band ever will - but how did The Beatles make the journey from Merseyside teenagers to international pop stars in the 1960s? Made on Merseyside - The Beatles discovers how American rock 'n' roll and rhythm and blues dragged post-war Liverpool into one of the most vibrant music cities ever with the Mersey Sound.
Featuring revealing interviews from those involved in the early years of The Beatles in Liverpool and Hamburg and unique archive, the incredible story of The Beatles' previous band formations and why it took so long for them to achieve success makes riveting viewing. From school bands, to colleges; Hamburg to The Cavern Club, The Beatles changed the world of pop music forever, but was Pete Best's sacking from the band and Ringo's replacement the final part of the jigsaw?