HISTORY's global television event tells the inside story of the operation to hunt and kill Osama bin Laden. From decision-making in the White House to the attack on the compound in Abbottabad, How We Got Bin Laden brings the most compelling story in recent history to life for the first time.

A poet and his best friend fall in love with the same woman.

An unexpected betrayal transforms a meek college professor into a cold-blooded gangster who wants to marry a woman against her wishes.

When his sister disappears after leaving their home in hopes of singing stardom, Luis tracks her down and discovers the grim reality of her whereabouts.

RETURN tells the story of a retired Green Beret who embarks on a healing journey from Montana to Vietnam. There he retraces his steps, shares his wartime experiences with his son, treats his Post-Traumatic Stress Disorder, and seeks out the mountain tribespeople he once lived with and fought alongside as a Special Forces officer.

A young man returns home for the weekend to discover the difficulty of juggling friends, parents, magic mushrooms and several thousand chickens.

About the partisan movement during the Great Patriotic War.

Static images of an old country house are combined with voices of the past to evocative effect. Haunting and nostalgic, 'Return' conveys the life that exists in old, abandoned places.

A man lurks the night alleys, killing people at random, he feels nothing, no emotion, and no pain; when he meets a graceful widow he must confront what it means to be human.

During one of their night stays, three college teens play a silly prank where they randomly call people and tell them that they know who that person is and what they have done. What will happen when things take a dangerous turn?

San Francisco filmmaker Konrad Steiner took 12 years to complete a montage cycle set to the late Leslie Scalapino’s most celebrated poem, way—a sprawling book-length odyssey of shardlike urban impressions, fraught with obliquely felt social and sexual tensions. Six stylistically distinctive films for each section of way, using sources ranging from Kodachrome footage of sun-kissed S.F. street scenes to internet clips of the Iraq war to a fragmented Fred Astaire dance number.

A female FBI agent holidaying in Eastern Europe with her family gets her life upside down when her daughter is kidnapped. She has to team up with a criminal on the run to save her daughter before time runs out.

Roughly chronological, from 3/96 to 11/96, with a coda in spring of 1997: inside compounds of Aum Shinrikyo, a Buddhist sect led by Shoko Asahara. (Members confessed to a murderous sarin attack in the Tokyo subway in 1995.) We see what they eat, where they sleep, and how they respond to media scrutiny, on-going trials, the shrinking of their fortunes, and the criticism of society. Central focus is placed on Hiroshi Araki, a young man who finds himself elevated to chief spokesman for Aum after its leaders are arrested. Araki faces extreme hostility from the Japanese public, who find it hard to believe that most followers of the cult had no idea of the attacks and even harder to understand why these followers remain devoted to the religion, if not the violence.

Eyüp decides to cross mount Ararat looking for his aunt in Yerevan after following a madman's words. His aunt has also been expecting someone to come from behind this mount for many years. Eyüp cannot be sure about the woman he finds behind the blue door, whether it is his aunt or not because they can't understand each other.

8mm work directed by Norihiko Morinaga.

Paris, Latin Quarter, May 1968. Images of barricades and police movements in the street. In his bedroom, on his bed, a young man indulges in daydreams that invade the whole space.