This is the 58 minutes Hulu version which contains spoiler/reveals throughout the special.

On an ordinary farm, between the first buds of spring and the end of summer, our pets appear to live in peace and harmony. But if we look more closely, however tame these animals might be, when we immerse ourselves in their daily lives, reality is more complex and surprising than expected, sometimes tragic, always funny.

After the death of their abusive father, two estranged twin brothers must reunite and sell off his property.

This first entry in the "Believe It Or Not" series of shorts visits northern Africa. Included are a look at the Tuareg people of the Sahara Desert, a waterfall whose under-surface builds up because of lime deposits, a clock that strikes 13, and the Tree of Abraham, estimated to be 3500 years old. Vitaphone No. 1282.

In a country at the world's end, the highest authority of the Catholic Church lands. The Pope comes to bring the word of God, but Chile awaits him with the most important religious crisis in its history.

Do you have experiences in your life that you write off to the indiscretions of youth? When you’re in the heyday of your youth, do you intentionally do things that are reckless because you know you can? A group of friends look back on their past, some with fear, some with regrets, as they think back to the mistakes and choices they made when they were young and wonder if they would do it all over again in the same way if they got another chance. “Bye, Old Times,” also known as “Bye, Old Days” and “Be, Jiu Shi Guang,” is a 2013 Chinese film directed by Li Xin. It stars Tang Ji Liang, Liu Cheng Rui, Qiang Yu and Hua Jiao.

Carlo Roma and his foster-son, Toma, and their friend Beppo, are living a happy fisherman's life in San Francisco until Carlo's widowed sister-in-law, Stella, shows up with her brat-son, Rudolph, and takes over. Poor Toma gets his feelings hurt and the idea he "isn't wanted" and runs away

In the small town of Vikarabad, Soumya, a rookie cop eager to prove herself, is paired with a sincere Officer Abhiram, to unravel the sinister motives of a serial offender Yugandhar, who targets young fan girls of stars, which turns out to be more dangerous than she imagined.

A high priest of Karnak travels to America with the living mummy Kharis (Lon Chaney Jr.) to kill all those who had desecrated the tomb of the Egyptian princess Ananka thirty years earlier.

Åsa-Nisse is visited by cousin Doris from the United States. Nisse, Klabbarparn and Doris will travel to Stockholm, but Nisse and Klabbarparn lose track of Doris, who get into a hands of a Casanova. Nisse and Klabbarparn instead ends up at the Nordic Museum, where Åsa-Nisse turns out to have unexpected qualities in the art of imitating a mannequin. After that they had found each other is Doris robbed and it leads to a wild brawl that it sparkles and sputters on.

The film opens with the overthrow of the Czar during the 1917 Russian revolution. The family of General Count Svirsky (Roger Karl) cower in their home, certain that the mobs of angry peasants will tear them apart. But even in this moment of crisis, Svirsky can find time to murder the young officer who has been having an affair with Countess Svirska (Emmy Lynn). The Countess knows what has happened, but she loyally remains with her husband as they escape to the safety of the French Riviera. It is here that the Countess meets Henri de Cassel (Jaque Catelain), the “living image” of her dead lover.

Following Bellavista and Totó, Peter Schreiner completes his informal trilogy of epic, black-and-white digital-video essay-films with the utterly monumental Fata Morgana. Shot in the Libyan desert and in an abandoned building in Lausitz, Germany, it features a man (Christian Schmidt), a woman (Giuliana Pachner, from Bellavista) - and, glimpsed now and again, a guide (Awad Elkish.) They talk, they fall silent. Winds blow. The sun shines. The camera runs. What gradually takes shape is nothing less than a painstakingly concentrated attempt to understand the human condition through the lens of cinema. A lofty ambition, and one that demands a considerable leap of faith on the part of the audience: this film is sedate, "difficult", challenging, often apparently impenetrable. But anyone who has seen Schreiner's previous films will be aware that he is by any standards a major artist, one that can be trusted to find places that other directors may not even suspect exist.

A happily married woman notices that someone is watching her every night who is not her husband. What does he want with her? What is he after?

"R. B.'s new film is a magic dream, airy and clear. Everything you see is a fact, firm and distinct at the moment you are seeing it, a fact of daily life or of extraordinary dance, or of amateur acting, and you recognize each fact too, at a glance. Later, as the film continues, the factual seeing is still the same, but somehow it doesn't feel the same, it feels like a good dream you are dreaming, with a sly and witty tease to it, and nearly weightless." - Edwin Denby