Within These Walls

Within These Walls is a British television drama programme made by London Weekend Television for ITV and shown between 1974 and 1978. It portrayed life in HMP Stone Park, a fictional women's prison. Unlike the later women-in-prison TV series Prisoner and Bad Girls, Within These Walls tended to centre its storylines around the prison staff rather than the inmates. The lead character was the well-groomed, genteel governor Faye Boswell, and episodes revolved around her attempts to liberalise the prison regime while managing her personal life at home. Another prominent character was her Chief Officer, Mrs. Armitage. Googie Withers left after three series; in Series Four her character was replaced as governor by Helen Forrester, who in turn left to be replaced in the final Series Five by Susan Marshall. The creator and writer of the programme, David Butler, played the prison chaplain, the Rev Henry Prentice, in some episodes. As of November 2011 Network DVD have released all five series in the UK, with the exception of "Nowhere for the Kids", an episode from Series Two which appears to have been wiped from the archives.

Finding her relationship at a standstill, single mother Mel breaks up with her boyfriend. After he moves out, strange things start happening in her house that threaten her safety and well-being.

Michael Howland, a stern hanging judge, is assigned to take over a chaotic prison. There Michael imposes a strict regime of discipline on the inmates. He is similarly rigid and harsh with his own two children Tommie and Anne. However, his son Tommie Howland eventually ends up incarcerated in his father's prison.

Chor Au-kuen bears the grief of the loss of his family and returns to the walled city in hopes of finding his long lost sister, only to find out that the place he grew up in has become a lawless no man's land. Concealing his real identity, he creates a new identity and gets acquainted with a feisty hair salon lady boss, a dentist, and a common worker. To restore law and order in the walled city, Au-kuen unites everyone to form an association to collectively resist the villainous forces, but instead causes clashes between him and an underground fighting champion...

Female prisoners train dogs to aid people with disabilities in a program started by a nun (Laura Dern).

Two sisters recall memories on a simple night.

A prisoner in her own home, a captive in her own body. Assaulted and trapped with no one to hear her cries for help... and knowing no one will believe her if they do. This is the terrifying reality Alaina finds herself in when she moves in to the house her mother died in. At first she thinks it's the loss of her mother that is haunting her, but she is soon shown it is something far more malicious and unrelenting. The spirit taunts her as it invades her body, mind, and soul, completely trapping her. Alaina has to fight for answers on what really happened to her mother if she has any hopes of survival. She must find a way to endure this monster who lives and breathes to rob her of her sanity as it demands a savage hold on her.

Jerusalem's Old City is a tiny enclave where some of history's greatest dramas have been enacted. Busy and colorful, it is the fountainhead of three major religions, the site of many of the world's most venerated shrines, and home to 26,000 people of profoundly different cultures who live side by side in a fragile peace. JERUSALEM: WITHIN THESE WALLS offers a kaleidoscopic view of the city and its people as they are today -- the remarkable outcome of 3,000 years of history, hope and faith.

A special that takes a look inside the White House.

Sri Lankan director Prasanna Vithanage sets this tragic story of the fifties in the walled city of Galle Fort, where Violet, a middle-aged woman, has raised two daughters alone. One is married and one engaged, and she seeks to get them settled as the reappearance of Victor, her lost first love, makes her wonder if she might also be happy.

The CGI film featuring a recreation of my former home in Iraq, which my family cannot return to. As the film moves through the house, digital images begin to escape from the forgotten TV and computer screens and materialise into living forms. These forces surge out in utter destruction, invading the domestic realm without restraint. We then hear a narration in Arabic from my grandmother where she describes the burning of sentimental objects in the home before fleeing, and digital fabrications of these objects appear before disintegrating.

When filmmaker/essayist Sasaki Yusuke accepted a job offer in the city of Tottori, the first thing he wanted to know was how many cinemas there were. The answer was depressing: just one. But when Sasaki started to explore his new home, gallivanting through its streets and alleys, he found traces of a plentiful culture of alternative screening venues. The founder of Tottori’s oldest cinema club is still organising projections; another elderly gentleman discovered the political importance of documentary films decades ago and has shared it ever since with his audiences; a curator at the city’s toy museum thought that showing animation films might deepen people’s appreciation of their exhibition. Where two or three gather in its name, there is cinema. In its emphasis on ordinary people and the social value of film screenings, Cinephilia Now is unlike any other current documentary on the love for cinema.