Collection of 18 films and documentaries from acclaimed German director Werner Herzog, famed for his blending of documentary realism with heightened stylisation. In 'Aguirre, Wrath of God' (1972), a Spanish expedition led by Lope de Aguirre (Klaus Kinski) aims to cross the Peruvian Sierras in search of the legendary Inca city of El Dorado. 'The Enigma of Kaspar Hauser' (1974) stars Bruno Schleinstein as the title character, telling the true story of the German boy who spent the first two decades of his life chained up in a cellar. Set in 18th Century Bolivia, 'Heart of Glass' (1976) stars Josef Bierbichler as Hias, a man with supernatural foresight who predicts a fire that will destroy the town's glassblowing factory. 'Stroszek' (1977) stars Schleinstein as a Berlin street performer recently released from prison who tries to get his life back on track with the help of his prostitute friend Eva (Eva Mattes). 'Nosferatu, the Vampyre' (1979) stars Kinski as the infamous Count Dracula, a peculiarly pale man with a penchant for vampirism. 'Woyzeck' (1979) is a film adaptation of the play by George Büchner telling the story of a lowly soldier who works all the hours he can to provide for his illegitimate child. In 'Fitzcarraldo' (1982), a budding rubber baron sets about trying to transport a steamship over a hill that hides access to an area rich in rubber. The film is based on true events. 'Cobra Verde' (1987) is a drama based on the novel 'The Viceroy of Ouidah' by Bruce Chatwin which sees a dissolute Brazilian rancher who has resulted to working on a gold mine after his land was destroyed by a drought. Short films and documentaries also featured in this collection include 'The Unprecedented Defence of the Fortress Deutschkreuz' (1967), 'Last Words' (1968), 'Precautions Against Fanatics' (1969), 'Handicapped Future' (1970), 'Fata Morgana' (1971), 'Land of Silence and Darkness' (1971), 'The Great Ecstasy of Woodcarver Steiner' (1975), 'How Much Wood Would a Woodchuck Chuck' (1976), 'Huie's Sermon' (1980) and 'God's Angry Man' (1980).

French director Pascale Ferran brings D.H. Lawrence's second and lesser-known version of LADY CHATTERLEY'S LOVER to the screen. Approaching three hours in length, the film explores its protagonist's emotional transformation.

Set in England in the 1920s, the film begins with our heroine, played by Marina Hands, saying goodbye to her husband, Clifford, who is heading off to war. Left behind on their grand country estate, Constance gets the first taste of the loneliness and isolation she will later become accustomed to when he returns home paralysed. Suddenly reduced to the role of nurse, the young woman cares for her invalid husband and listlessly putters about the large property, desperately dreaming of escape.

She finds this outlet in Parkin (Jean-Louis Coulloc'h), the deceptively brutish gamekeeper down the hill. Sceptical of Constance at first, Parkin begrudgingly produces an extra set of keys to his shed when asked, opening the door to an affair that will awaken something deeply repressed in both parties. Clifford inadvertently encourages his wife by dismissing her boredom and unhappiness as unimportant.

When the unspoken tension between Parkin and Constance eventually explodes into a fiery sexual encounter, the two embark on a journey of sexual awakening and personal discovery. LADY CHATTERLEY is beautifully filmed, providing an extremely detailed account of the heroine's visual surroundings. Scenery functions symbolically to show how Constance blooms in the aura of Parkin's love.

But as passionate and subversive as their affair is, the reality of their social positions is always present, with visual clues creating a sense of constant threat to the relationship. When Constance goes off on a carefree, extravagant holiday with her fashionable sister and others from her own class, homemade-style footage of her trip contrasts with the controlled way in which her home life is captured, and demonstrates just how far she is from that world. The film's ending is rather open-ended, suggesting several possible outcomes by calling into question how much the early-20th-century social structure will matter in the end.