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In April 1970, NASA faced the greatest crisis in its history; three astronauts halfway to the moon on a spacecraft that had suffered a catastrophic explosion.

A look at the life and work of Charlie Chaplin in his own words featuring an in-depth interview he gave to Life magazine in 1966.

In the summer of 1983, just days before the birth of his first son, writer and theologian John Hull went blind. In order to make sense of the upheaval in his life, he began keeping a diary on audiocassette. Upon their publication in 1990, Oliver Sacks described the work as 'the most extraordinary, precise, deep and beautiful account of blindness I have ever read. It is to my mind a masterpiece.' With exclusive access to these original recordings, NOTES ON BLINDNESS encompasses dreams, memory and imaginative life, excavating the interior world of blindness.

Short-tempered film actor Chris Ford is preparing to record the audiobook version of his autobiography. The task of committing the notoriously volatile Ford to tape has fallen on young sound engineer Stuart Taylor, who finds himself struggling against uncomfortable frequencies.

Landline is a short documentary about the only helpline in the UK for gay farmers. Through a series of recorded telephone conversations and reconstructive visuals, the film uses the helpline as a lens through which to view the experiences of LGBTQ people in the British farming community. In a world that prizes traditional masculinity and in which ideas of ancestry are fundamental, being gay can be isolating. Suicide rates are extremely high in both young farmers and gay men in particular, and combining these can be a recipe for tragedy. But there are also thriving gay scenes in the most rural of towns, stories of unexpected friendships and relationships, and moments so unlikely that they could only happen in real life. Candid, intimate and shocking, Landline is a snapshot of a group of people bound together by circumstance but so often isolated from each other.

An intimate, expressive film about how endometriosis has robbed Georgie Wileman of time. Told in the first-person and blending present-day narrative with memories from the past, the film is uniquely personal with unprecedented access.