Janine Jansen: Falling for Stradivari

A documentary on the photographer Robert Frank.

Not many people can see the dead (not many would want to). 12-year-old Johnny Maxwell can. And he's got bad news: the council want to sell the cemetery as a building site. But the dead have learnt a thing or two from Johnny. They're not going to take it lying down... especially since it's Halloween tomorrow.

The South Bank Show is a television arts magazine show produced by ITV between 1978 and 2010. A new series began on Sky Arts from 27 May 2012. Presented by Melvyn Bragg, the show aims to bring both high art and popular culture to a mass audience.

Gerald Fox’s film documents Bill Viola and his wife and close collaborator Kira Perov’s odyssey to create two permanent video installations for London’s St Paul’s Cathedral, Martyrs and Mary, the first art commissions of their kind to be installed in Britain’s most famous religious space.

When "American Psycho" was released early in 2000 it reaffirmed author Bret Easton Ellis as the controversial "bad boy" of contemporary American Fiction. "This Is Not an Exit" reveals the world inhabited by Ellis.

BAFTA and Grierson award-winning filmmaker Gerald Fox celebrates the centenary of the 'dream film' in cinema and its years of flowering during the silent film period in this kaleidoscopic, stylised documentary.

A portrait of dance superstar Natalia Osipova which combines unique access to the rehearsal rooms of the Royal Ballet with Natalia's contemporary dance projects, to give an unparalleled glimpse into the working life of a great dance artist.

Fox’s BAFTA Award-winning documentary about artists Gilbert & George, whose lives have been made ‘living sculptures’, provides a compelling insight into their working processes. Filmed around their home in East London and documenting their lives first hand, this is a fascinating film that engages with their challenging and witty art.

In his studio, in his car, Gérald Fox follows the elusive Boltanski who, in his installations, makes use of portraits, newspaper clippings, magazines, family albums. The photographic approach, endlessly recomposed, proceeds by juxtaposition and accumulation. Each shot, framed in black, is lit by visible bulbs, the mass effect restoring the individual: walls of votive images that question the memory, our dark side, the inevitable passage of time, the traces left behind. Between autofiction and reality, Boltanski: artist or maker (of beauty)?