Filmmaker Daniel McNicoll explores the emerging movement to reclaim the ancient medieval and renaissance martial arts in this documentary narrated by Welsh actor John Rhys-Davies, and produced on corroboration with Lord of the Rings director Peter Jackson. The Medieval and Renaissance blade was a remarkable weapon crafted with the utmost attention to detail. Though the history of the sword remains largely shrouded in mystery for younger moviegoers, their presence on the big screen can still be felt in the Star Wars saga, as well as films like Chronicles of Narnia and The Pirates of the Caribbean. Join host Davies as he traces the history of this remarkable weapon throughout the ages, in the process giving us a better understanding of the sword's unique role in both history, and films.

Anthropologist Wade Davis and river advocate Robert F. Kennedy Jr journey down the Colorado River on a two-week expedition to highlight water conservation issues. Traveling by rafts, kayaks and wooden dories, they are accompanied by their daughters and guided by Shana Watahomigie, a Native American National Park ranger. Filmed with a 350-pound 3D camera, it involved the cooperation of three Indian nations, the National Park Service, film sponsor Teva’s team of kayakers and more than a dozen experienced river guides. The film explores America's drought and freshwater shortages, the impact on the river of damming, and human water supply needs. Grand Canyon Adventure: River at Risk was directed by Greg MacGillivray and narrated by Robert Redford.

The fifth programme explores the alliances formed between the animal and plant worlds. Attenborough dives into Australia's Great Barrier Reef and contrasts the nocturnal feeding of coral, on microscopic creatures, with its daytime diet of algae. Some acacias are protected by ants, which will defend their refuge from any predator. Besides accommodation, the guards are rewarded with nectar and, from certain species, protein for their larvae as well. Fungi feed on plants but can also provide essential nutriment to saplings (Mycorrhiza). The connection is never broken throughout a tree's life and a quarter of the sugars and starches produced in its leaves is channelled back to its fungal partners. Meanwhile, fungi that feed on dead wood leave a hollow trunk, which also benefits the tree. Orchids enjoy a similar affiliation. Lichens are the product of a relationship between fungi and a photosynthetic associate, usually algae. They are extremely slow-growing, and a graveyard is the perfect location to discover their exact longevity. Mistletoe is a hemiparasite that obtains its moisture from a host tree, while using own leaves to manufacture food. Its seeds are deposited on another by the mistletoe tyrannulet, following digestion of the fruit. The dodder (Cuscuta) is also parasitic, generally favouring nettles, and siphons its nourishment through periodic 'plugs' along its stem. The rafflesia has no stem or leaves and only emerges from its host in order to bloom — and it produces the largest single flower: one metre across.

'Flexing' is a dance style forged in far east Brooklyn, at the dead-end of a handful of subway lines. Flex dancers channel the grittiness and crime of East New York into choreographed violence with gun movements, simulated bone-breaking, and the mimicked ripping of hearts from opponent's chests. Through battles dancers gain respect, craft an artistic identity, and sometimes find a sanctuary from the poverty and violence that saturates their neighborhood. No other style of street-dance is this violent, scary, or beautifully theatrical. In this purely do-it-yourself scene, creativity and ambition bring a community together around frequent dance-battle showcases that have begun to attract an international audience and may catapult the best dancers into careers in theater or film. Following a group of dancers for over two years, Flex is Kings explores the hopes and realities of this under-acknowledged and totally unfunded group of urban artists

Dr Alice Roberts looks at our ancestors' seemingly impossible journey to Australia. Miraculously preserved footprints and very old human fossils buried in the outback suggest a mystery: that humans reached Australia almost before anywhere else. How could they have travelled so far from Africa, crossing the open sea on the way, and do it thousands of years before they made it to Europe? The evidence trail is faint and difficult to pick up, but Alice takes on the challenge. In India, new discoveries among the debris of a super volcano hint that our species started the journey much earlier than previously thought, while in Malaysia, genetics points to an ancient trail still detectable in the DNA of tribes today. Alice travels deep into the Asian rainforests in search of the first cavemen of Borneo and tests out a Stone Age raft to see whether sea travel would have been possible thousands of years ago, before coming to a powerful conclusion.

The story of how an eccentric French shop keeper and amateur film maker attempted to locate and befriend Banksy, only to have the artist turn the camera back on its owner with spectacular results. Billed as 'the world's first street art disaster movie' the film contains exclusive footage of Banksy, Shephard Fairey, Invader and many of the world's most infamous graffiti artists at work. No director or screenwriters are listed in "Gift Shop's" credits, just the words "A Banksy Film." Banksy is a graffiti artist with a global reputation whose work can be seen on walls from post—hurricane New Orleans to the separation barrier on the Palestinian West Bank. Fiercely guarding his anonymity to avoid prosecution, Banksy has so far resisted all attempts to be captured on film. Exit Through the Gift Shop tells the incredible true story of how an eccentric French shop keeper turned documentary maker attempted to locate and befriend Banksy, only to have the artist turn the camera back on its owner – with spectacular results. The film contains exclusive footage of Banksy, Shepard Fairey, Invader and many of the world's most infamous graffiti artists at work, on walls and in interview. As Banksy describes it, "It's basically the story of how one man set out to film the un—filmable. And failed."