Filmmaker/2012 Whitney Biennial artist Laura Poitras’ subject matter—how the War on Terror plays out on US soil—has caused her problems when traveling: She’s repeatedly detained and interrogated by customs officials, although she’s suspected of no crime.

To Kill a Mockingbird—made into the lauded film that turns 50 this year—might not have been written were it not for Joy and Michael Brown. In 1956, they gave Harper Lee a Christmas gift so she could take a “year off from your job to write whatever you please.”

Monday’s Google Doodle celebrates the 182nd birthday of British photographer Eadweard J Muybridge, whose serial photos of racehorses are considered among the earliest forms of videography.

On Tuesday, Jeremy described the home of Dr. Winkel (that’s vink-el) as “tchotchke-stuffed”; even Holly himself disparagingly notes that the good doctor has “quite a collection of…collection.” Holly is in Winkel’s apartment following up a lead: he’s learned from Anna the name of Harry’s former doctor, who (according to various testimonies) just happened to be strolling by at the time of Harry’s death. A…

“I dissected all of Hitchcock’s Rear Window and stitched it back together in After Effects,” writes Jeff Desom. “Since everything was filmed from pretty much the same angle I was able to match them into a single panoramic view of the entire backyard.”

Again we are thrust into a new space. After miring ourselves in the world of Baron Kurtz and the inside of Anna Schmidt’s apartment, the story seems to be suddenly picking up speed. We will soon be popping in and out of Vienna spaces at an alarming rate. Today’s frame shows Holly taking his first few steps into the tchotchke-stuffed apartment of Harry’s Doktor Winkel. Holly has spent the first…

Don’t understand Futurism? Well, this video won’t help. Cats and kids in skeleton suits comingle in Why Cecco Beppe Does Not Die (Scratch ‘n’ Sniff Edition), which claims to recreate a lost scene from the only official Futurist film, 1916’s Vita Futurista.

We’re no longer trapped in Anna Schmidt’s apartment with a bombardment of police officers, but Anna’s nightmare continues nonetheless: she’s been detained at police headquarters by Major Calloway while they pore over her personal belongings. Interestingly, the cut from the previous scene (set at Anna’s apartment building) to this one does not initially offer us an establishing shot of the new…

Werner Herzog’s film and TV examinations of death row transcend reportage to address the psychological and metaphysical issues of the death penalty. “The result is an utterly compelling meditation on the desolate emotional landscapes opened up by capital murder.”