The story continues after the record-breaking docuseries “Justin Bieber: Seasons” and provides viewers an exclusive look at the last eight months of Bieber’s life during this unprecedented time of uncertainty.

A detailed look at the stadiums used at Euro 2016 in France.

In 2020, the USA experienced a multiple catastrophe: No other country in the world was hit so badly by the coronavirus pandemic, the economic slump was dramatic, and so was the rise in unemployment. A rift ran through society. In the streets there were protests of both camps with violent riots, authoritarian traits were evident in the actions of the leader of the nation. And all of this in the middle of the election year, when the self-centered president fought vehemently for his re-election. From the start of his presidency, Donald Trump had divided American society, incited individual sections of the population against one another, fueled racism, hatred, xenophobia and prejudice, insulted competitors and denigrated critical journalists as enemies of the people. The documentary shows how this could happen and what role the targeted disinformation of certain sections of the population through manipulative media played.

1/4 - In 1925, the young M’hamed El Anka replaced his master Nador at short notice. He realizes that he is far from mastering all the instruments of his art and begins a self-taught training program in Oud, the Arabic language, and religious singing in the hadra of Sidi Abderrahmane. 2/4 - In 1932, the young El Anka released 10 45 rpm records in Paris, including the first song from his composition "L'Exil". He is gradually “lightening” the Andalusian heritage. He made the pilgrimage to Mecca and wrote the famous song "El Mendouza". 3/4 - The 40s and 50s will confirm the maturity of the master, who consolidates the constituent elements of what is today called Chaâbi music. In the midst of the national liberation struggle, El Hadj M'hamed El Anka triumphs with the song "Youm El Djemâa". 4/4 - In 1962, El Anka sang of independence: "El hamdou lilah, mabqach listaâmar fi bledna". Activist, poet and musicologist Bachir Hadj Ali explains the artist’s exceptional style.

The first live performance ever from Ashton Irwin as a solo artist. Filmed during quarantine.

An explanation of what is involved in the devaluation of sterling.

Pepa, Antoñita, Pepi, Esperanza, Remedios, Kiska, Catalina and Rafaela are women between the ages of 68 and 97 from Seville's Triana district. All share a dream: they want to be monologuists, to enjoy success in the world of showbusiness and to defend the right of older women to respect and visibility. They have therefore created a show entitled Orgullo vieja. The film follows the process of creating the company, the rehearsals, the premiere in Seville and their travels throughout Andalusia.

Year 2021. Veteran coach Joaquín Caparrós leads the Armenian National Football Team. 5,000 km away from his native Utrera and in just one year, he has become a hero for a country at war.

A teenage girl who lost her father and uncles on September 11th begins tackling her own loss through a series of courageous conversations with other “9/11 Kids.” Along the way, she begins to connect with the growing community of other survivors of mass tragedy, finding inspiration in their stories and turning pain into purpose. At a time when society faces a courageous dialogue of its own, the brave voices of LOSS AND FOUND speak to the resilience of hope and the power of collective healing.

A film about the consequences of leaving an all-consuming way of life. Three people born and raised in the Unification Church (a cult formed in Korea in the 1950s), all having left the Church in their adulthood, examine their experiences within and without the cult that defined their entire universe.

Chronicling the history of his family from 1787 to now while looking for the answers to some buried secrets regarding certain relatives, Roger Deutsch (The Boy on the Train) soothingly voices over his latest effort - a poetic, travelogue-esque 30-minute documentary which takes the viewer on an engaging personal journey from Hungary to America and back via beautiful vintage photographs, grainy home videos (that often look better than professional and persistently stand the test of time), as well as his own impressionistic footage, with the unique experience enhanced by excellent musical choices. —Nikola Gocic

Marina is a 35-year-old woman from Odessa. Daughter, wife, mother and breadwinner of the whole family. Despite the frequent change in life of black and white stripes, she never gives up. The father's illness decays all relatives, but not Marina, for her this is another new test.

Inspired by the wind in the grass, the song of birds, the tapestry of the forest, two bodies of water and natural erosion, two dancers and a filmmaker explore the beauty of the Memramcook valley.

Love and death. The 1992-1993 war, which in Abkhazia is called the Patriotic War, ended long ago, but the small sovereign unrecognized state is unable to overcome the military syndrome. I want love so much! In the mountain village of Achandara, Lavrik Akhba, an actor of the Abkhaz drama theater, captain of the second rank of the border fleet and a farmer, is trying to help his friend Tuta find a bride through a dating site. But suddenly he himself, a war hero, a lover of books and women, is covered with love of such strength that it turns out to be more destructive than that terrible last war.

‘I cannot give you my Forest’ is a modern day rendition of the David and Goliath story, played out in an Orwellian setting. The film is an intimate poetic window into the lives of the Kondh adivasis in Odisha- who eschew the duality of Man and Nature. The Kondh have internalised the Forest – pacing the rhythms of their lives with the cycle of the seasons. The Forest is a metaphor for their identity and their sovereignty. Against the foil of the bloodshed in what the Indian government calls the ‘Red Corridor’, their philosophy gives a counterpoint to the dominant discourse.

It compiles more than twenty years of passionately recorded “pictures from life” captured on super 8, that Vukica Djilas shot from 1970 to late 1990s.

A two-minute poetic micro-manifesto of ecological and social warning about the endangerment of people and the world's nature in the 1960s.