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In January 2013,

Filmed over nearly five years in twenty-five countries on five continents, and shot on seventy-millimetre film, Samsara transports us to the varied worlds of sacred grounds, disaster zones, industrial complexes, and natural wonders.

In the early 1970s, Sixto Rodriguez was a Detroit folksinger who had a short-lived recording career with only two well received but non-selling albums. Unknown to Rodriguez, his musical story continued in South Africa where he became a pop music icon and inspiration for generations. Long rumored there to be dead by suicide, a few fans in the 1990s decided to seek out the truth of their hero's fate. What follows is a bizarrely heartening story in which they found far more in their quest than they ever hoped, while a Detroit construction laborer discovered that his lost artistic dreams came true after all.

Puppeteer Craig Schwartz and animal lover and pet store clerk Lotte Schwartz are just going through the motions of their marriage. Despite not being able to earn a living solely through puppeteering, Craig loves his profession as it allows him to inhabit the skin of others. He begins to take the ability to inhabit the skin of others to the next level when he is forced to take a job as a file clerk for the off-kilter LesterCorp, located on the five-foot tall 7½ floor of a Manhattan office building. Behind one of the filing cabinets in his work area, Craig finds a hidden door which he learns is a portal into the mind of

Real estate agent John Maloof explains how a trip to a local auction house, in search for old pictures to use for a history book about his neighborhood, resulted in him bidding and winning a box full of old negatives. John goes through the massive quantity of negatives, describes how impressed he is by the quality of the images, becomes quickly determined they are not reverent to his project and just puts them away. That could have very likely had been the end of the story, if the power of the images had not pushed him to fall in love with photography. John confides that his photo hobby quickly motivated him to set up a darkroom and devote large amounts of time printing. As he learned more about photography, he recognized that those negatives he had bought, then stored, were the work of a real master. In an attempt to confirm his suspicion, he selected about 100 images and put them online with the hope that the feedback would confirm his judgement as to the strength of the images.

Theater director Caden Cotard is mounting a new play. Fresh off of a successful production of Death of a Salesman, he has traded in the suburban blue-hairs and regional theater of Schenectady for the cultured audiences and bright footlights of Broadway. Armed with a MacArthur grant and determined to create a piece of brutal realism and honesty, something into which he can put his whole self, he gathers an ensemble cast into a warehouse in Manhattan's theater district. He directs them in a celebration of the mundane, instructing each to live out their constructed lives in a small mock-up of the city outside. As the city inside the warehouse grows, Caden's own life veers wildly off the tracks. The shadow of his ex-wife Adele, a celebrated painter who left him years ago for Germany's art scene, sneers at him from every corner. Somewhere in Berlin, his daughter Olive is growing up under the questionable guidance of Adele's friend, Maria. He's helplessly driving his marriage to actress Claire into the ground. Sammy Barnathan, the actor Caden has hired to play himself within the play, is a bit too perfect for the part, and is making it difficult for Caden to revive his relationship with the alluringly candid Hazel. Meanwhile, his therapist, Madeline Gravis, is better at plugging her best-seller than she is at counselling him. His second daughter, Ariel, is disabled. And a mysterious condition is systematically shutting down each of his autonomic functions, one by one. As the years rapidly pass, Caden buries himself deeper into his masterpiece. Populating the cast and crew with doppelgangers, he steadily blurs the line between the world of the play and that of his own deteriorating reality. As he pushes the limits of his relationships, both personally and professionally, a change in creative direction arrives in Millicent Weems, a celebrated theater actress who may offer Caden the break he needs.

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. The film contains footage of Banksy, Shephard Fairey, Invader and many of the world's most infamous graffiti artists at work.

Without words, cameras show us the world, with an emphasis not on "where," but on "what's there." It begins with morning, natural landscapes and people at prayer: volcanoes, water falls, veldts, and forests; several hundred Balinese Hindu men perform kecak, the monkey chant. Indigenous peoples apply body paint; whole villages dance. The film moves to destruction of nature via logging, blasting, and strip mining. Images of poverty, rapid urban life, and factories give way to war, concentration camps, and mass graves. Ancient ruins come into view, and then a sacred river where pilgrims bathe and funeral pyres burn. Prayer and nature return. A monk rings a huge bell; stars wheel across the sky.

Dreams. What are they? An escape from reality or reality itself? Waking Life follows the dream(s) of one man and his attempt to find and discern the absolute difference between waking life and the dreamworld. While trying to figure out a way to wake up, he runs into many people on his way; some of which offer one sentence asides on life, others delving deeply into existential questions and life's mysteries. We become the main character. It becomes our dream and our questions being asked and answered. Can we control our dreams? What are they telling us about life? About death? About ourselves and where we come from and where we are going? The film does not answer all these for us. Instead, it inspires us to ask the questions and find the answers ourselves.

A documentary which challenges 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.

Locked away from society in an apartment on the Lower East Side of Manhattan, the Angulo brothers learn about the outside world through the films that they watch. Nicknamed, 'The Wolfpack,' the brothers spend their childhood reenacting their favorite films using elaborate homemade props and costumes. Their world is shaken up when one of the brothers decides to revisit the outside world and everything changes.

The story of cult film director Alejandro Jodorowsky's ambitious but ultimately doomed film adaptation of the seminal science fiction novel.

A documentary on the life of

On the night of her wedding, Justine (Kirsten Dunst) is struggling to be happy even though it should be the happiest day of her life. It was an extravagant wedding paid for by her sister and brother-in-law who are trying to keep the bride and all the guests in line. Meanwhile, Melancholia, a blue planet, is hurtling towards the Earth. Claire (Charlotte Gainsbourg), Justine's sister, is struggling to maintain composure with fear of the impending disaster.

Errol Morris's unique documentary dramatically re-enacts the crime scene and investigation of a police officer's murder in Dallas, Texas. Briefly, a drifter (Randall Adams) ran out of gas and was picked up by a 16-year-old runaway (David Harris). Later that night, they drank some beer, smoked some marijuana, and went to the movies. Then, their stories diverged. Adams claimed that he left for his motel, where he was staying with his brother, and went to sleep. Harris, however, said that they were stopped by police late that night, and Adams suddenly shot the officer approaching their car. The film shows the audience the evidence gathered by the police, who were under extreme pressure to clear the case. It strongly makes a point that the circumstantial evidence was very flimsy. In fact, it becomes apparent that Harris was a much more likely suspect and was in the middle of a crime spree, eventually ending up on Death Row himself for the later commission of other crimes. Morris implies that the DA's and the judge's desire for the death penalty in this case (for which Harris would have been ineligible because of his youth) made Adams a scapegoat on whom to pin this heinous crime.

In 2001, Andrew Bagby, a medical resident, is murdered not long after breaking up with his girlfriend. Soon after, when she announces she's pregnant, one of Andrew's many close friends, Kurt Kuenne, begins this film, a gift to the child. Friends, relatives, and colleagues say warm and loving things about Andrew, home movies confirm his exuberance. Andrew's parents, Kathleen and David, move to Newfoundland, Canada where the ex-girlfriend has gone. They await an arrest and trial of the murderer. They negotiate with the ex-girlfriend to visit their grandchild, Zachary, and they seek custody. Is there any justice; is Zachary a sweet and innocent consolation for the loss of their son?

Bloomington, Minnesota, 1967: Jewish physics lecturer Larry Gopnik is a serious and a very put-upon man. His daughter is stealing from him to save up for a nose job, his pot-head son, who gets stoned at his own bar-mitzvah, only wants him round to fix the TV aerial and his useless brother Arthur is an unwelcome house guest. But both Arthur and Larry get turfed out into a motel when Larry's wife Judy, who wants a divorce, moves her lover, Sy, into the house and even after Sy's death in a car crash they are still there. With lawyers' bills mounting for his divorce, Arthur's criminal court appearances and a land feud with a neighbour Larry is tempted to take the bribe offered by a student to give him an illegal exam pass mark. And the rabbis he visits for advice only dole out platitudes. Still God moves in mysterious - and not always pleasant - ways, as Larry and his family will find out.

THE PERVERT'S GUIDE TO CINEMA takes the viewer on an exhilarating ride through some of the greatest movies ever made. Serving as presenter and guide is the charismatic Slavoj Zizek, acclaimed philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Zizek delves into the hidden language of cinema, uncovering what movies can tell us about ourselves. Whether he is untangling the famously baffling films of David Lynch, or overturning everything you thought you knew about Hitchcock, Zizek illuminates the screen with his passion, intellect, and unfailing sense of humour. THE PERVERT'S GUIDE TO CINEMA cuts its cloth from the very world of the movies it discusses; by shooting at original locations and from replica sets it creates the uncanny illusion that Zizek is speaking from 'within' the films themselves. Together the three parts construct a compelling dialectic of ideas. Described by The Times in London as 'the woman helming this Freudian inquest,' director Sophie Fiennes' collaboration with Slavoj Zizek illustrates the immediacy with which film and television can communicate complex ideas. Says Zizek: 'My big obsession is to make things clear. I can really explain a line of thought if I can somehow illustrate it in a scene from a film. THE PERVERT'S GUIDE TO CINEMA is really about what psychoanalysis can tell us about cinema.'