Join Keanu Reeves on a tour of the past and the future of filmmaking. Since the invention of cinema, the standard format for recording moving images has been film. Over the past two decades, a new form of digital filmmaking has emerged, creating a groundbreaking evolution in the medium. The film investigates the history, process and workflow of both digital and photochemical film creation. We will explore it via in-depth interviews with directors, cinematographers, colorists, scientists, engineers and artists such as James Cameron, David Fincher, David Lynch, Martin Scorsese, Steven Soderbergh, and many more

The idea that there is a possibility of many worlds or multi universal theory is very new even though you may have learned about it in movies and comic books. Explore how this thinking was developed in the world of quantum mechanics and philosophy.

Your brain is like a hungry sponge. It's constantly absorbing information. It thrives when stimulated. Between smartphones and books, and movies, and friends and family, thousands of sensations are constantly going into our heads. But what if it all got cut off?. Imagine being confined to a 10-by-10-foot room in complete isolation. No timekeeping devices, no phones, no books, nothing to write on, no windows. Psychologists say that fewer than three days in a room like this can lead to brain damage. I will be staying in this room for three days.
Michael explores the effects of isolation on the human mind by subjecting himself to a very interesting experiment.

In 1949, after decades of making wooden furniture and toys, Ole Kirk Christiansen's small factory in Billund, Denmark, moved to plastic and created the 'Automatic Binding Bricks', which would later be known as LEGO. When the company patented the tube system in 1958, LEGO became the dominant toy line worldwide throughout the 1960s and 1970s. When other competitors capitalized on the expiration of the company's patents in the 1980s, LEGO faced stiff competition until they reported their first loss in 1998. Poor business decisions with film licenses and the failure of the Jack Stone and Galidor lines brought LEGO to near-bankruptcy until Jørgen Vig Knudstorp took over the company and, by bringing it back to its roots, rejuvenated LEGO's profits.
By the time The Lego Movie hit theaters in 2014, LEGO became the largest toy franchise in the world.

In 1983 Hasbro bought the license of the Diaclone and Micro Change toys from Takara, then commissioned Marvel Comics to come up with a story-line and character names for the toys. The result: Transformers. Despite Tonka releasing the cheaper Gobots line six months earlier, Hasbro's Transformers took the toy market by storm in 1984, raking in US$150 million that year. At the peak of the toy line's popularity, The Transformers: The Movie hit theaters to further capitalize on its success, but the film polarized fans and collectors with the death of Optimus Prime and majority of the original characters. As Hasbro took full control of Transformers from Takara by the late 1980s, sales declined until the toy line was discontinued in 1991. After the failed Generation 2 reboot, Beast Wars rejuvenated the franchise in 1995.
In 2007, the live-action Transformers film solidified Transformers' position as Hasbro's flagship toy line.

The film takes the viewer on an exhilarating ride through some of the greatest movies ever made. Serving as presenter and guide is the charismatic Slavoj Zizek, the Slovenian philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Zizek delves into the hidden language of cinema, uncovering what movies can tell us about ourselves.
The Pervert's Guide To Cinema offers an introduction into some of Zizek's most exciting ideas on fantasy, reality, sexuality, subjectivity, desire, materiality and cinematic form. Whether he is untangling the famously baffling films of David Lynch, or overturning everything you thought you knew about Hitchcock, Zizek illuminates the screen with his passion, intellect, and unfailing sense of humour. The film applies Zizek's ideas to the cinematic canon, in what The Times calls 'an extraordinary reassessment of cinema.'