In 1972, a seemingly typical shoestring budget pornographic film was made in a Florida hotel, "Deep Throat," starring Linda Lovelace. This film would surpass the wildest expectation of everyone involved to become one of the most successful independent films of all time. It caught the public imagination which met the spirit of the times, even as the self appointed guardians of public morality struggled to suppress it, and created, for a brief moment, a possible future where sexuality in film had a bold artistic potential. This film covers the story of the making of this controversial film, its stunning success, its hysterical opposition along with its dark side of mob influence and allegations of the on set mistreatment of the film's star. In short, the combined events would redefine the popular appeal of pornography, even as more cynical developments would lead it down other paths.

Sometimes it can feel like the environmental, economic and social issues the world is currently facing are too big, too overwhelming, to be dealt with by individuals. Climate change, resource limits, economic downturn, social disconnection. Surely these issues can only be properly managed by our governments? Living the Change explores solutions to the global crises we face today - solutions any one of us can be part of - through the inspiring stories of people pioneering change in their own lives and in their communities in order to live in a sustainable and regenerative way. Directors Jordan Osmond and Antoinette Wilson have brought together stories from their travels around New Zealand, along with interviews with experts able to explain how we come to be where we are today. From forest gardens to composting toilets, community supported agriculture to timebanking, Living the Change offers ways we can rethink our approach to how we live. Each and every one of us has the power to ...

The reverend Huie L. Rogers delivers an intense and impassioned sermon at his church in Brooklyn.

Saw this last night at Jewish International Film Festival in Sydney and was appalled by it. There was so little merit in this unfocused and ill-conceived attempt to illustrate the work of a handful of Jewish illustrators. Postcards shots of concentration camps clamour for attention with dreadfully out-of-focus and hard to see pencil drawings that are almost completely devoid of feeling or soul-power. I was left wondering what the film was really about and was lost most of the time in a kind of rambling assemblage of thoughts that never quite rose to the level of dramatic storytelling. In fact, that was the greatest weakness of the film - its lack of story - and wonderful storytellers. Instead we are treated to curators in white gloves, waving their hands in front of the drawings, and wondering to ourselves, what exactly is the filmmaker trying to say?