When a family of four rent a beautiful house for their summer vacation, the price seems too good to be true. Unbeknownst to them, the lascivious owner has set up a series of spy cams throughout the house, documenting their most intimate moments and live streaming them to the dark web.

Man with a Camera is an American 1950s television crime drama starring Charles Bronson. Former combat cameraman Mike Kovac (Bronson) is now a freelance photographer in New York City, specializing in difficult and dangerous assignments where he can get the kinds of pictures that other photographers can't, or won't take. He sometimes gets help, often reluctantly, from his contact in the police department, Lt. Donovan, and advice from his immigrant father Anton. Throughout the 1950s, Bronson spent most of his early acting career performing in TV shows as well as small parts in films, until he landed the lead in this ABC series. This is the only series in which he played the lead role. He would go on to have supporting roles either as a guest star or a recurring character in dozens of TV shows after this series was cancelled.

Newlyweds Claire and Ryan have just moved into a new house. Both are hoping Claire’s pregnancy will be the cement needed to hold their already fraying relationship together. Little do they know their marital issues are the least of their problems. For unbeknownst to them, their scruffy, sleazy and lascivious landlord has installed numerous miniature cameras all over their home and has been spying on them from Day One. Then Ryan begins an office affair, and the landlord kits out the secret basement with chains and soundproofing. Something is going to give in this suburban shocker packed with nasty surprises.

An adventurous tragedy about Estonia's first film maker Johannes Pääsuke and his aspirations to travel around with a film camera and find happiness. Together with a good friend, Volter, Pääsuke will spend an incredible week in Setumaa.

An emotional thrill ride through the day-to-day chaos of the city's most explosive hospital and the courageous team of doctors who hold it together. They will tackle unique new cases inspired by topical events, forging fiery relationships in the pulse-pounding pandemonium of the emergency room.

She worked with the world’s greatest actors and directors: Buñuel, Mastroianni, Lellouche, Depardieu... The film guides us throughout her career with the filmmakers with whom she invented herself not to be a “cold blonde actress”, thanks to great interviews of many artists who crossed her path.

Candid Camera is an American hidden camera/practical joke reality television series created and produced by Allen Funt, which initially began on radio as Candid Microphone June 28, 1947. After a series of theatrical film shorts, also titled Candid Microphone, Funt's concept came to television on August 10, 1948. The show last aired for 10 episodes in 2014 on the TV Land network. A documentary about Allen Funt is currently in the works by the Candid Camera crew. The format has appeared on U.S. TV networks and in syndication in each succeeding decade, as either a regular show or a series of specials. Allen Funt himself hosted or co-hosted almost all of the TV versions until a 1993 stroke from which he never recovered. His son Peter Funt, who had co-hosted the specials with his father since 1987, became the producer and host.

Camera Three is an American variety show devoted to the arts. It ran on CBS from January 22, 1956 to January 21, 1979, and moved to PBS in its final year to make way for the then-new CBS News Sunday Morning. The PBS version ran from October 4, 1979 to July 10, 1980. Camera Three featured programs showcasing drama, ballet, art, music, anything involving fine arts. One of its most notable presentations was a condensation of Marc Blitzstein's leftist opera The Cradle Will Rock. Presented on November 29, 1964, it was a dramatic demonstration of how far television had come since its early days, in its willingness to present a work that surely would have been banned from the airwaves during the era of Joseph McCarthy.

Revisiting her film set photos, director Léa Pool reflects on her prolific career. The filmmaker left Switzerland at the age of 25 to settle in Quebec and embark on a surprising career. She reinvents herself from film to film, exploring themes that deeply resonate with her: identity, exile, maternal absence, transitional spaces... In both documentary and fiction, she has directed 20 feature films that feature strong female characters and contemporary issues. Somewhere between a masterclass and an intimate conversation, this documentary invites Léa to share her cinematic journey in front of the camera.

Postal mailboxes are mostly empty these days. Long-distance friends and lovers have traded in their pen and ink for the ones and zeros of e-mail and the electronic hum of ten thousand web cams. Computers are the new breeding ground for today's relationships. Love, sex, loneliness, fear, money woes, longing, adultery and jealousy -- 11 CAMERAS is a voyeuristic look at human relationships and the new ways we connect to one another in the digital age.

This revealing portrait of Cuba follows the lives of Fidel Castro and three Cuban families affected by his policies over the last four decades.

Hidden camera with Ibrahim Nasr

The film revolves around a veteran photographer who is faced with an unexpected incident in his life. What follows is a series of thrilling investigations that take place while getting to the root of the incident.

Do our eyes perceive all that there is to this world? Sometimes the camera seems to pick up more than we can see with the naked eye. In the 'PSC' series a team of ghost-hunters analyzes authentic paranormal footage captured on home videos and surveillance cameras all across Japan. Fourth entry in the PSC series.

Featuring Miyagawa Fumiko.

Liu Na’ou’s The Man with a Movie Camera is comprised of five episodes, shot in four cities across national boundaries: Tainan, Canton, Shenyang, and Tokyo. It displays impressionistic street spectacle and images of quotidian life, as well as excursions by train and ship, unfolding as a private visual journal and a sort of souvenir, but with refined framing, camera movement, and rhythmic editing. With his own perspective and artistic sensitivity embedded in this film, struggling between being a Japanese colonial subject and a Taiwanese/Chinese litterateur, Liu attempts to transcend geological, national, racial/ethnic, linguistic and medial boundaries, to establish a depoliticized, internationalist, cosmopolitan cinematic utopia, a pure cinema, and a fluid and contested identity.

Through the entanglement of home movies, archival footage, and cinéma vérité, "Ghost Camera" captures 116 years of Toronto history to tell the tale of a documentarian's descent into artistic madness.