Larry Wessel's Palace of Wonders

At the Vienna Art Academy in 1994, an unidentified person painted over 27 works by Austrian painter Arnulf Rainer. Rainer had become world-famous for his abstract art and, in particular, for his over-layering of photographs and overpainting of his own and other artists’ works. But who painted over the “overpainter”? Speculation rages: Did he attack his works himself? A year later, an unsigned letter surfaces claiming responsibility for the act directed against Rainer – and modern art in general – and accusing the artist of being complicit with “destructive modernism.” At the same time, Austria is shaken by a series of mail bombs by the Bajuwarian Liberation Army, in response to the supposed threat to Austria’s “German identity.” Are there connections between the overpainting event and the mail bombs? Or is this all just a game? A dream? Or perhaps a hallucination?

In this brand new episode, master illusionist and showman Derren Brown plans to pull off the perfect crime. He’s bet renowned art collector Ivan Massow that he can steal a painting from right under his nose. In true Derren style, he will tell Ivan exactly which painting he plans to target – a work by Turner-nominated British brothers Jake and Dinos Chapman no less – as well as what time the theft will happen. He’ll even give him a photograph of the person that’s going to take it.

The New Wave is the seminal compendium of independent video work in the early 1970s. Written and narrated by Brian O'Doherty, this overview of the emerging video field includes examples of guerrilla television and "street" documentaries, early explorations with image-processing and synthesis, and performance video. This historical anthology includes excerpts of tapes by the following video pioneers: Stephen Beck and Warner Jepson, Peter Campus, Douglas Davis, Ed Emshwiller, Bill Etra, Frank Gillette, Don Hallock, Joan Jonas, Richard Serra, Paul Kos, Nam June Paik, Otto Piene, Willard Rosenquist, Dan Sandin, James Seawright, Steina Vasulka, TVTV, Stan Vanderbeek and William Wegman.

Drawing on the collections of major Russian institutions, contributions from contemporary artists, curators and performers and personal testimony from the descendants of those involved, the film brings the artists of the Russian Avant-Garde to life. It tells the stories of artists like Chagall, Kandinsky and Malevich - pioneers who flourished in response to the challenge of building a new art for a new world, only to be broken by implacable authority after 15 short years and silenced by Stalin's Socialist Realism.

Klaus Kinski has perhaps the most ferocious reputation of all screen actors: his volatility was documented to electrifying effect in Werner Herzog’s 1999 portrait My Best Fiend. This documentary provides further fascinating insight into the talent and the tantrums of the great man. Beset by hecklers, Kinski tries to deliver an epic monologue about the life of Christ (with whom he perhaps identifies a little too closely). The performance becomes a stand-off, as Kinski fights for control of the crowd and alters the words to bait his tormentors. Indispensable for Kinski fans, and a riveting introduction for newcomers, this is a unique document, which Variety called ‘a time capsule of societal ideals and personal demons.’

This is the legendary meeting between a young filmmaker and one of the masters of surrealism: the spanish painter Óscar Domínguez, born in La Laguna, Tenerife, in 1906, died in Paris in 1957. In the "Visite," the artist -admirer of Picasso, rebellious disciple of Breton- is presented in solitude, far from the tumult of the exhibitions and parisian circles. An austere approach, almost “povera”, with no audio, nor flashy camera movements, but rarely attractive. Why Resnais could not finish his movie? Hope one of our experts help us to solve the mystery.

At the end of his life, gravely ill, François Truffaut took refuge with his ex-wife Madeleine Morgenstern. She tried to keep him occupied during his long agony. The filmmaker confided in his friend Claude de Givray, with the intention of writing his autobiography. Too weakened, he abandoned the project. The film reveals part of this final story.

Constructing freestone buildings on the cheap, Pouillon made a name for himself at the end of the 1940s in Aix-en-Provence and Marseille, shaking up his peers who only dreamed of towers and concrete bars. In Algiers, until Independence, he built in record time thousands of homes for the poorest, real urban projects inspired by traditional forms. In the Paris region, to build comfortable buildings quickly and well, nestled in the greenery, he becomes a promoter: this too adventurous bet leads him to prison and retains his reputation. Not very explicit about this complex affair, but seduced by a contemporary architecture that combines technical inventiveness and ancient references, Christian Meunier films by multiplying the angles of view. Today's lively atmospheres are interspersed with archive footage, while Pouillon's writings are read off. Moved, his collaborators evoke a demanding and generous man, with an infectious passion.

Belgrade in the 1990s seen through the eyes of Goran Čavajda 'Čavke', the late drummer of Serbian rock band "Electric Orgasm". Under dictatorship of Slobodan Milošević, his city became one of the worst places to live in Europe, while the country suffered highest inflation rate in its history, accompanied by mass poverty and political isolation. Documentary follows Čavke walking through the Belgrade streets where total chaos and decline of moral values rule. He finds his only shelter underground, where his friends - musicians and artists - live and work invisibly.

Ashes and Snow, a film by Gregory Colbert, uses both still and movie cameras to explore extraordinary interactions between humans and animals. The 60-minute feature is a poetic narrative rather than a documentary. It aims to lift the natural and artificial barriers between humans and other species, dissolving the distance that exists between them.