Trauma is the invisible force that shapes our lives. It shapes the way we live, the way we love and the way we make sense of the world. It is the root of our deepest wounds. Dr. Maté gives us a new vision: a trauma-informed society in which parents, teachers, physicians, policy-makers and legal personnel are not concerned with fixing behaviors, making diagnoses, suppressing symptoms and judging, but seek instead to understand the sources from which troubling behaviors and diseases spring in the wounded human soul.
The interconnected epidemics of anxiety, chronic illness and substance abuse are, according to Dr Gabor Maté, normal. But not in the way you might think. One in five Americans are diagnosed with mental illness in any given year. Suicide is the second most common cause of death in the US for youth aged 15-24, and kills over 700,000 people a year globally and 48,300 in the USA . Drug overdose kills 81,000 in the USA annually. The autoimmunity epidemic affects 24 million people in the USA. What is going on?
“So much of what we call abnormality in this culture is actually normal responses to an abnormal culture. The abnormality does not reside in the pathology of individuals, but in the very culture that drives people into suffering and dysfunction.” — Gabor Maté

Andrew Callaghan embarks on a gripping RV journey through a tumultuous America, capturing the very essence of a nation on edge. Employing his distinctive gonzo style of reporting, Callaghan dives deep into the undercurrents leading up to the January 6 Capitol Riot.
As 2020 sees COVID gripping the globe, nationwide protests, and a monumental election on the horizon, he navigates the chaos with nothing but a camera and a microphone, offering an unfiltered glimpse into the events, characters, and sentiments in the days leading up to the insurrection of the U.S. Capitol Building.

Meet Tim Raue, the lauded German chef who went from gang life to fine dining. After leaving the streets, he defied all odds with explosive creativity, but also the knack for running several lucrative restaurants. For a high school dropout once told he could only be a house painter, gardener, or cook, it's a culinary story that does seem to be written in the Michelin stars.

Red Bull's Max Verstappen pulls off a string of victories. Lewis Hamilton of Mercedes struggles to keep pace. Later, an accident leads to controversy. We will see more Red Bull vs Mercedes, with a bit of Ferrari thrown in. Again Wolff and Horner engage in what appear to be pretty staged chats with their loved ones over the first meal of the day about the intensity of the championship fight but also pumpernickel.
Monaco plays out brilliantly for Red Bull and miserably for Mercedes, but several laps of Horner’s garden still look more exciting than that ’21 GP round the principality. Things all come to a head at the British GP, and we will all know how that ends. Cue more swearing and breakfast war-planning.

Every day of our lives, we are bombarded by thousands of different images, images which affect us in countless different ways. But of all these there's one particular kind of image whose power is uniquely mesmerising, because while it terrifies us somehow it also comforts. But although it can manipulate us, it also reassures, It's the image of death.

(Click CC for subtitles) Ranjit, a farmer in India, takes on the fight of his life when he demands justice for his 13-year-old daughter, the victim of a brutal gang rape. His decision to support his daughter is virtually unheard of, and his journey unprecedented. Nominated for Best Documentary Award, the film has an undeniable and unshakable power. It is one of those documentaries where anyone who watches it won’t be the same person by the end as they were when it started.
To Kill a Tiger offers the viewer remarkable access to village life, not just in the modest home where Ranjit’s family make roti on an open fire, but in the fields where they herd goats and collect water from a pump. The camera finds quiet details, like Ranjit’s daughter carefully weaving ribbons into her hair. Women and men insist that the community, not the criminal court, should solve the issue with a forced marriage—to remove the ‘stain on her’. The men become increasingly hostile—to the family, and eventually to the film crew itself.