Chris has always worked to keep his body healthy; now it’s time to start looking after his brain. Neurologist Dr. Sharon Sha challenges him to go off-grid into the wilderness without a GPS or map. Teaming up with his buddy, First Nations artist Otis Hope Carey, Chris will need to tune into nature to navigate through Otis’ remote ancestral homeland. The hike stirs up Chris’s most precious memories.

The Chicago Tribune in late June of '42 reports the mass killing of Jews. Like many other newspapers, the Tribune puts it on page 6 or 7 in a tiny, little article. You either missed it, or if you saw it, you would say the editors don't think this is true. If they thought this was true, this would be on the front pages. Only a few of papers did put the story on the front page, including the Pittsburgh Courier.
The dominant idea in the American government is any act of rescue will be a diversion from the war effort. Both could've been done at the same time. In spite of that, a group of government officials supports and finances rescue operations. Allied soldiers begin to liberate concentration camps and find mass graves. The public sees the sheer scale of the Holocaust.

Hitler’s rise to power was a unique moment in history. Germany suffered a humiliating defeat in WWI; now it's crippled by massive war reparations. Hitler offers a scapegoat: the Jews. The Nazis are quick to institute anti-Semitic laws and stoke distrust of the Jews. Anyone deemed 'undesirable,' from political opponents, to the handicapped, gypsies and Jews are sent to camps. There they are either worked to death, starved or executed. But just how much did the rest of the world know of what was going on?

Without words, Ron Fricke shows us the world, with an emphasis not on 'where,' but on 'what's there.' It begins with morning, natural landscapes and people at prayer: volcanoes, water falls, veldts, and forests; several hundred Balinese Hindu men perform kecak, the monkey chant. Indigenous peoples apply body paint; whole villages dance. The film moves to destruction of nature via logging, blasting, and strip mining. Images of poverty, rapid urban life, and factories give way to war, concentration camps, and mass graves. Ancient ruins come into view, and then a sacred river where pilgrims bathe and funeral pyres burn. Prayer and nature return. A monk rings a huge bell; stars wheel across the sky. (Click CC for places description)

April 1453. Sultan Mehmed II unleashes an artillery attack on Constantinople unlike any the world has ever known. It's the largest concentration of cannons that the world had seen in one place. The monumental task of keeping the Ottomans out of Constantinople falls on the shoulders of Genoese soldier of fortune Giovanni Giustiniani. He and his men must defend 14 miles of city walls. Mehmed launches his ambitious plans to break through the walls of Constantinople, but Giustiniani's mercenaries manage to forestall the attacks.

Researchers discover film footage from World War II that turns out to be a lost documentary shot by Alfred Hitchcock and Sidney Bernstein in 1945 about German concentration camps liberated by allied troops. When Allied forces liberated the Nazi concentration camps in 1944-45, their terrible discoveries were recorded by army and newsreel cameramen, revealing for the first time the full horror of what had happened. Making use of British, Soviet and American footage, the Ministry of Information’s Sidney Bernstein (later founder of Granada Television) aimed to create a documentary that would provide lasting, undeniable evidence of the Nazis’ unspeakable crimes. He commissioned a wealth of British talent, including editor Stewart McAllister, writer and future cabinet minister Richard Crossman – and, as treatment advisor, his friend Alfred Hitchcock. Yet, despite initial support from the British and US Governments, the film was shelved, and only now, 70 years on, has it been restored and completed by Imperial War Museums. This eloquent, lucid documentary by André Singer (executive producer of the award-winning The Act of Killing) tells the extraordinary story of the filming of the camps and the fate of Bernstein’s project, using original archive footage and eyewitness testimonies.