Where will loved ones spend their last days? Who will be in the room? What feelings and secrets need to be shared with family before it is too late? Acclaimed filmmakers Rob Epstein and Jeffrey Friedman probe these questions and more in the context of two San Francisco Bay Area medical facilities on the forefront of creating new paradigms for end of life decisions with grace.
Filmed and edited in intimate vérité style, 'End Game' follows visionary medical practitioners who are working on the cutting edge of life and death and are dedicated to changing our thinking about both.

A boxing match in Brooklyn; life in postwar Bosnia and Herzegovina; the daily routine of a Nigerian midwife; an intimate family moment at home: these scenes and others are woven into Cameraperson, a tapestry of footage collected over the twenty-five-year career of documentary cinematographer Kirsten Johnson. Through a series of episodic juxtapositions, Johnson explores the relationships between image makers and their subjects, the tension between the objectivity and intervention of the camera, and the complex interaction of unfiltered reality and crafted narrative.
A hybrid work that combines documentary, autobiography, and ethical inquiry, Cameraperson is both a moving glimpse into one filmmaker's personal journey and a thoughtful examination of what it means to train a camera on the world.

Two and a half thousand years ago, the Greek philosopher Socrates worried that the wide use of writing would have a negative impact on people's minds. He said that writing would create forgetfulness, because people will not use their memories. They would trust the external written characters and not remember themselves. In a world with an ever-growing tech industry, Michael Stevens tries to find out what effect technology has on our brains. He finds Technology isn't just changing our lives, it's changing our brains. In his experiments he tests what just 10 days of gaming does to things like our spatial memory.

David Lynch takes us on an intimate journey through the formative years of his life. From his idyllic upbringing in small town America to the dark streets of Philadelphia, we follow Lynch as he traces the events that have helped to shape one of cinema's most enigmatic directors. David Lynch the Art Life infuses Lynch's own art, music and early films, shining a light into the dark corners of his unique world, giving audiences a better understanding of the man and the artist. As Lynch states 'I think every time you do something, like a painting or whatever, you go with ideas and sometimes the past can conjure those ideas and color them, even if they're new ideas, the past colors them.'
Artist and filmmaker David Lynch discusses his early life and the events that shaped his outlook on art and the creative process.

Polley is both filmmaker and detective as she investigates the secrets kept by a family of storytellers. She playfully interviews and interrogates a cast of characters of varying reliability, eliciting refreshingly candid, yet mostly contradictory, answers to the same questions. As each relates their version of the family mythology, present-day recollections shift into nostalgia-tinged glimpses of their mother, who departed too soon, leaving a trail of unanswered questions. Polley unravels the paradoxes to reveal the essence of family: always complicated, warmly messy and fiercely loving.
Stories We Tell explores the elusive nature of truth and memory, but at its core is a deeply personal film about how our narratives shape and define us as individuals and families.

Frequent security expos feature companies like Megvii and its facial- recognition technology. They show off cameras with A.I. that can track cars, and identify individuals by face, or just by the way they walk. In China it's been projected that over 600 million cameras will be deployed by 2020. Here, they may be used to discourage jaywalking, but they also serve to remind people that the state is watching. Matching with the most advanced artificial intelligence algorithm, they can actually use this data, real-time data, to pick up a face or pick up a action.
A.I. is a technology that can be used for good and for evil. So, how do governments limit themselves in, on the one hand, using this A.I. technology and the database to maintain a safe environment for its citizens, but not to encroach on a individual's rights and privacies?