Brand New You: Makeover Television and the American Dream

In 2002, 30 young people gave up their jobs, homes and relationships to take part in what they believed was a new TV reality game show with the chance to win £100,000. The Great Reality TV Swindle examines how their dreams of fame and fortune disappeared as the project descended into farce. For those who were selected, it seemed to be the chance of a lifetime. But when the contestants arrived to meet charismatic producer Nik Russian they soon realised there was something seriously wrong. There was no broadcaster, no prize money and no show. The Great Reality TV Swindle features exclusive footage of the faked reality show as it unravelled over the course of a week. It looks at what drove the contestants to chase fame and the price they were forced to pay, and follows some as they track down the man they hold responsible to demand an explanation

Pilot JP Schulze and filmmaker Louis Cole set off to circumnavigate the world in a single-engine, 1974 Cessna T210L airplane named Balloo. They had 90 days to complete the journey, and as they traveled they met people from many different cultures and asked them - is what divides us greater than what brings us together?

Character assassination. Political assassination. Legal assassination. An actual assassination attempt. They will try anything to stop Trump. We can’t let them!

The conflict between Dole Food Company and Swedish filmmaker Fredrik Gertten unfolds dramatically in the documentary "BIG BOYS GONE BANANAS!" as the corporation attempts to suppress Gertten's earlier film, "BANANAS!"—chronicling Nicaraguan workers' lawsuit against Dole. Initially selected for the 2009 Los Angeles Film Festival, "BANANAS!" was abruptly removed from competition, followed by a negative article in the Los Angeles Business Journal and legal threats from Dole's attorneys. Gertten captures this saga of corporate intimidation, media manipulation, and legal challenges in his documentary, showcasing the struggles documentary filmmakers face and highlighting the threat to freedom of speech posed by powerful corporations protecting their reputations.

Following the death of her brother, filmmaker Robie Flores returns to her hometown Eagle Pass on the Texas/Mexico border, wanting to turn back time. She collides with unruly experiences of adolescence – quinceañeras, Rio Grande river excursions, teen makeovers and beyond – that invite her to soak up the details of the home her brother adored and she ignored. What emerges is a playful dance between a personal and collective coming-of-age portrait of kids on the border and Robie herself as she rediscovers the possibilities of joy in the aftermath of grief.

Illusionist Derren Brown concocts a psychological experiment in which he tries to manipulate an ordinary person into taking a bullet for a stranger.

Marion Stokes secretly recorded television 24 hours a day for 30 years from 1975 until her death in 2012. For Marion taping was a form of activism to seek the truth, and she believed that a comprehensive archive of the media would be invaluable for future generations. Her visionary and maddening project nearly tore her family apart, but now her 70,000 VHS tapes are being digitized and they'll be searchable online.

FOREIGNERS OUT! SCHLINGENSIEFS CONTAINER is a thrilling, insightful, funny chronicle and reflection of one of he biggest public pranks and acts of art terrorism ever committed. Austria 2000: Right after the FPÖ under Jörg Haider had become part of the government, the first time an extreme right wing party became state officials after WW2, infamous German shock director Christoph Schlingensief showed a very unique form of protest. Realising public xenophobia and the new hate politics in the most drastic ways possible, he installed a public concentration camp right in the middle of Vienna's touristic heart, right beside the picturesque opera where hundreds of tourists and locals pass by daily. And it was no concentration camp you had ever feared to return from the old times, but one that cynically reflected our new multimedia culture. Satirising reality TV shows, "Big Brother" especially, a dozen asylum seekers were surveilled by a multitude of cameras, could be fed and watched by.

In 1932, the writer Paul Nizan published "The New Watchdogs" to denounce the philosophers and writers of his time who, sheltering behind intellectual neutrality, imposed themselves as true watchdogs of the established order. Today the watchdogs are journalists, editors, and media experts who've openly become market evangelists and guardians of the social order. In a sardonic manner, "The New Watchdogs" denounces this press that, claiming to be independent, objective and pluralist, makes out it is a democratic force of opposition. With forcefulness and precision, the film puts its finger on the increasing danger of information produced by the major industrial groups of the Paris Stock Exchange and perverted into merchandise.

Long before O'Reilly and Beck, Morton Downey, Jr., was tearing up the talk-show format with his divisive populism. Between the fistfights, rabid audience, and Mort's cigarette smoke always "in your face," The Morton Downey Jr. Show was billed as "3-D television," "rock and roll without the music." Évocateur meditates on the hysteria that ended the '80s and ultimately its most notorious agitator.

It does not take much for a restaurant in South Korea to win airtime and to become famous. A restaurant is being opened, just for the purpose of proving this fact; hidden cameras are being installed to record meetings with TV producers. For only 10 million Won ($9,090), the restaurant gets featured on local broadcaster SBS' "Live Show Today". For another 9 million won, it is featured on MBC's "Find! Delicious TV".