Siblings Lucy, Edmund, Susan and Peter step through a magical wardrobe and find the land of Narnia. There, they discover a charming, once peaceful kingdom that has been plunged into eternal winter by the evil White Witch, Jadis. Aided by the wise and magnificent lion, Aslan, the children lead Narnia into a spectacular, climactic battle to be free of the Witch's glacial powers forever.

It's Christmas Eve, 1938, when Madge Arwell comes to the aid of an injured Spaceman Angel as she cycles home. He promises to repay her kindness - all she has to do is make a wish.

This Emmy Award winner for Best Animated Special is based on the first book of C.S. Lewis' acclaimed series, "The Chronicles of Narnia." Four children pass through a mystic portal in a wardrobe and discover the magical kingdom of Narnia, a land of talking animals and mythical creatures. There, an evil witch's spell has cast the land into eternal winter. Fearing that an ancient prophecy is coming to fruition, and that the children are Narnia's rightful rulers, the White Witch tricks their youngest brother into betraying his family, enacting an ancient magic that she can use to halt the fulfillment of the prophecy. Now, only Aslan, noble lion and High King above all kings in Narnia, can help them defeat the witch, restore springtime to Narnia, and claim their rightful places on the throne.

Lynd Ward is the father of the American graphic novel and one of the most prolific book illustrators and printmakers in the history of American art. Featuring more than 150 wood engravings, drawings, and illustrations by this important American artist and storyteller, the 90-minute film brings the creativity of Ward to life and illustrates his mastery of narrative without text. His work chronicles American life in the 20th century, and demonstrates his deep personal commitment to social justice and the plight of the workingman surrounding the years of the Great Depression. Written, narrated, and directed by Michael Maglaras of 217 Films. Featuring interviews with Ward's daughter, Robin Ward Savage. 2012.

A short Polish black and white silent movie directed by Roman Polański. The film features two men who emerge from the sea carrying a large wardrobe, which they proceed to carry into a town. Carrying the wardrobe, the two encounter a series of hostile events, including being attacked by a group of youths (one of whom is played by Polanski himself). Finally, they arrive back at a beach and then disappear in the sea.

A look back to the 2019 fashions, costumes and make-up as seen in Ridley Scott's Blade Runner.

Frantz Fanon is a renowned politician and decolonialisation activist. This feature focuses on his visionary social therapy methods during his time as a psychiatrist in Algeria from 1953 to 1956. A piece of sober anti-racism.

Tom Mangold's inside story of the scandal that rocked Britain, showing what it was really like to live with Stephen Ward as he became the scapegoat for the Profumo affair.

A special from British comedian Tom Ward, in which he tackles cheap kettles, friendly perverts and Tupperware.

Rodolfo and Leticia are staying at the same hotel, in adjacent rooms separated by a closed-down door. He has doubts about what to do. Finally, he leaves, and while Leticia sees him walk away, she remembers the moments in which she hoped he would approach her.

The Eleventh Doctor has his hand on a button that, when released, will blow up a ship that's about to destroy the Earth. He calls Amy Pond on the TARDIS phone to ask her to rescue him, but realises she can't fly the TARDIS, he doesn't have the co-ordinates to give her and she left the TARDIS long ago. The Doctor admits he just wanted to chat, says "Merry Christmas, Amelia", and releases the button. The ship explodes.

Rachel and Nick are your model, contemporary relationship. They're young, hip, creative and independent. In the end, they can't escape the basic differences between men and women. In '90s psycho-babble jargon - women are from Venus and men are from Mars. And in this relationship, Mars needs guitars and a chart-topping hit song without any silly domestic interruptions. Venus needs consideration, understanding and a hand changing a light fitting in the kitchen. So when Nick goes in search of the perfect sound and Rachel has an axe to grind - the Gulf War is about to begin. They say all you need is three chords and a wardrobe and you've got the perfect song...relationships aren't so easy.

When Georgia Tech came to Michigan in 1934, the Wolverines were forced to bench their best play, Willis Ward, because he was an African-American. The incident infuriated Ward’s best friend on the team, a future president by the name of Jerry Ford, who threatened to quit the team in response. The friendship that began in the Big House lasted all the way to the White House. This is the story of two schools, two friends, and a game that changed everything.

A complete change of pace for cult pinku-eiga filmmaker Hisayasu Sato, this softcore farce set in a women's clinic looks more like one of Siggi Gotz's German romps than a film from the director of OL Renzoku Rape: Kyonyu Musaboru or Kamen No Yuwaku. The zany antics include the misadventures of a voyeuristic nurse, an exhibitionistic patient, a doctor and nurse who engage in S&M, a hypochondriac, and a lesbian nurse who sleeps with the patients.

A young woman enters the life of a New York playgirl, after being brutally raped by her stepfather. She soon moves in with a young male doctor, who makes special intimate sessions between government officials and young women.

Avedon's commercial advertisement for the Japanese womenswear brand Jun Ropé features an innovative and unexpected approach to the genre that reflects the famed photographer's exceptional signature style. Opening onto a behind-the-scenes look at a photo shoot, the camera follows the supermodel Veruschka as she transforms from a suit-clad, mustached character in drag to an unabashedly glamorous fashion icon dressed in a designer gown and posing for Avedon himself. While initially produced for a commercial client with the leading industry talents of the day, the video underscores the artist’s savvy understanding of the performative—and ultimately flexible—nature of social constructions of gender, femininity, and the self.