Privately, he was humble, almost shy, and fiercely patriotic, donating millions to his native Brazil and contemplating a life beyond motor-racing. Yet he is struck down in his prime on the blackest weekend in the history of the sport, watched live on television by 300 million people. Years on he is revered in Formula One as the greatest motor racing driver of all time - and in Brazil as a Saint.

Space. Gone are the bayonets and pistols, the bows and arrows, the slingshots and stones of past warfare. Now, we have pushed into the outer limits, into a vast frontier, well beyond earth's atmosphere. Human beings have long contested the domains of air, land, and sea. Now we are racing toward a new domain. How we use space will decide our Earthly fate, a future determined not by any previous war.

The Speed Sisters are the first all-woman race car driving team in the Middle East. Grabbing headlines and turning heads at improvised tracks across the West Bank, these five women have sped their way into the heart of the gritty, male-dominated Palestinian street car-racing scene.
Weaving together their lives on and off the track, the film takes you on a surprising journey into the drive to go further and faster than anyone thought you could.

Ricciardo is still trying to get to grips with that pesky papaya number, whilst things get tetchier and tetchier between the Macca team-mate as races go by. 'We’re very different,' says Norris darkly. Luckily there's a sprint race for Ricciardo to get his Mansell-esque chops into, then it all falls into place. Bottas gets a grid penalty, Verstappen and Hamilton waltz off the track together and Norris promises not to overtake the old man in front a la Damon Hill / Ralf Schumacher at Spa ’98. The Honey Badger is back!

Academy Award-winning director Alex Gibney (Taxi to the Dark Side) masterfully explores the fall of the disgraced cycling champion following the 2009 Tour de France, making use of his extraordinary access to attain rare interviews with former teammates, alleged doping mastermind Dr. Michele Ferrari, and Armstrong himself. What was Lance Armstrong thinking? For years, after seizing international fame as the cancer survivor who won seven Tour de France titles, he fiercely denied accusations that he used performance-enhancing drugs. He used his power to aggressively litigate journalists and publicly humiliate former friends who claimed otherwise. His deceit finally cracked in January 2013, when he admitted guilt to Oprah Winfrey in a television interview that critics decried for only scratching the surface. Academy Award-winning director Alex Gibney approaches Armstrong with unique and extraordinary access. In 2009, Gibney was commissioned to make a film about Armstrong's return to the Tour de France, four years after the racing champion had declared retirement. That race would later stir up devastating evidence in the case against Armstrong. But Gibney came away from the experience unable to reconcile the discrepancy between doping allegations and Armstrong's emphatic denials. Then, post-Oprah, Gibney went back to Armstrong for new interviews to extract a more detailed account of his double life. In The Armstrong Lie, Gibney masterfully explores the complexities of the case, interweaving the dramatic action of the 2009 Tour de France, when Armstrong found himself unexpectedly competing against his own teammate Alberto Contador. Gibney attains rare interviews with Armstrong's former teammates and alleged doping mastermind Dr. Michele Ferrari. The film also raises troubling questions about the process of doping regulation. Recently, when asked to give advice to documentary filmmakers, Gibney responded with a motto exemplified by this film: "Embrace contradictions."

Dr Nigel Spivey explores how art influences life by tracing the development of the image from cave paintings to our modern obsession with images. Dr. Spivey begins his investigation by travelling to the Cave of Altamira near the town of Santillana del Mar in Cantabria, Spain, where in 1879 a young girls exclamation of 'Papa, look, oxen!' to her father, local amateur archaeologist Marcelino Sanz de Sautuola, is explained to have meant that Maria had just become the first modern human to set eyes on the first gallery of prehistoric paintings ever to be discovered.