This film is about the experience of dying. Five terminal patients in a Palliative Care Unit share the last days of their lives and deaths with a film crew.

At Baycrest, an old-age home in Toronto, we follow a social worker as she talks to residents, particularly Max, Claire, Ida, and Rachel. The film opens on Claire's birthday, she's 89; Max, a tiny cheerful man, is her close friend. Rachel is lonesome, missing her son, complaining he rarely visits. Ida relies on memory for her solace. Helen has no memory and doesn't recognize her daughter; her moods swing. Murray keeps his cap on and likes women. Staff members bring medication, provide care, and offer small talk. Memory is fleeting: Claire re-experiences the death of a close companion several times, each time without remembering her previous grieving. Lives are circumscribed

This ground-breaking cinema véritè classic documents five weeks in the lives of twelve children in a home for emotionally disturbed children. It is the first in the form that King later described as actuality drama. All the action is spontaneous and undirected, with neither interviews nor narration. The theme is the outrage of life. The children asked the filmmakers, Why is it that whenever pictures of us are put in the papers, our faces are blacked out. What is so awful about us that we cant be seen? They wanted to be filmed so that they could be seen.

In this classic exploration of marriage in conflict, Billy and Antoinette Edwards, their son Bogart and dog, Merton spontaneously live out their lives and laughter, tears, wit, tenderness, fierce anger, patience, pain and sorrow ensue. Hoping to discover the heart of the trouble in their marriage in order to save it, BIlly and Antoniette offer up their day to day lives with antonishing bravery. Audiences project themselves into the couple, judging, loving or hating either or both. Many thought the marriage was doomed but it continued for another decade, producing a daughter, Amadea. All have had successful, normal lives.

Five boys and five girls ages 13 to 19 live on a farm for ten weeks, to be filmed, and to see what might emerge for each of them personally.

The coming-of-age of adolescent Brian O'Connal in small town Depression-era Saskatchewan is told. The son of the local pharmacist Gerald O'Connal, Brian is in many ways a typical boy, who dislikes school if only because of his run-ins with the nervous schoolteacher, Miss MacDonald, and who tries to catch gophers with his friends, Artie and Forbsie. His best friend and protector is slightly older Jonathan Ben, better known as The Young Ben (as his father is referred to as The Ben), who is highly regarded as a problem by those in town who see themselves as the moral authority if only because of The Young Ben's association to The Ben, the town still keeper and drunk. Brian's life takes a turn when his parents have to leave town temporarily, while Brian stays on his Uncle Sean's farm. That stint leads to a series of events which make Brian see life around him through slightly older and wiser eyes.

The Alberts (Bruce Lacey, Tony Gray and his brother Dougie Gray) attempt to take off. There are two edits of this film, both with their own distinct ending.