When her wild younger sister Ashley, who suffers from bipolar disorder and drug addiction, goes missing, Libba Phillips pours all her time and energy into finding Ashley and bringing her home. As the years go by, Libba refuses to give up hope, and, at the expense of her marriage and career, Libba finds her calling in life: creating a much-needed resource center for other families whose missing loved ones have fallen through the cracks.

This program combines a panel discussion and town hall format with documentary video segments to promote the discussion of racial problems and policy choices that face the nation and its readers. The discussion focuses on whether race relations have improved or degenerated in the past 25 years and questions what can be done.

From the ruins of Monte Cassino to the malarial swamps of the Pontine Marshes, this newsreel depicts the full extent of Italy’s devastation in early 1945. Reports on the Ardeatine massacre – a Nazi atrocity in which over 300 Italians were shot in reprisal for a Partisan attack on an SS regiment.

A successful invasion of Nazi-occupied Europe depended on intelligence from behind enemy lines. This report uses a mixture of dramatized reconstructions, captured Axis film and footage shot by the French Resistance to reveal life in Nazi-occupied Europe.

The March of Time was an American newsreel series sponsored by Time Inc. and shown in movie theaters from 1935 to 1951. This episode covered the Dutch Empire.

Part of the March of Time series, this episode (Volume 11, Number 11) focuses on a new sociological phenomenon - the teen-age girl. She is recognized as unique, with a mind of her own and not necessarily prone to following in her mother's foot-steps. Industry now recognizes this sector of society as a potentially lucrative market, the result being that magazines, beauty products and clothes are all being designed with the teen-age girl in mind. New music is central to their activities, and there is also an increasing demand for photogenic teen-agers as models.

A sweeping survey of General de Gaulle’s Free France government-in-exile and the French underground resistance movement. From bold acts of sabotage in Vichy France and fund-raising events in New York to the activities of the Free French forces in the South Pacific and Equatorial Africa.

1941 Oscar nominated documentary

The Teachers’ Crisis (MARCH OF TIME) puts the pointer on one of the biggest U.S. problems—education. By narrative, charts and acted episodes, the film dramatizes the fact that, with public school enrollments bigger than ever before, and constantly growing, the U.S. has fewer public-school teachers than it had in 1939. Of these teachers many are pitifully ill-trained “emergency” amateurs. (The film shows the too common spectacle of a teacher unable to work a problem she has given students.) Still others are psychologically unfit to teach (the film shows a stupid teacher calling a pupil stupid).

Tells the story of how the 8th American Air force’s daylight bombing raids on Germany helped the Allies to win control over the skies of Europe. Recreating the events of Operation Argument (or Big Week) during 20-25 February 1944, which helped secure Allied air power over Europe.

Justice or revenge? As Allied tanks rolled across Europe in October 1944, clearly in no mood for reconciliation or forgiveness, this film demands punishment for Germany as well as hoping for a lasting peace settlement. Includes footage from the entire conflict, as well as staged sequences.

Postwar Farms (MARCH OF TIME) will interest not only farmers but also those numerous urbanites who wonder wistfully how they might make out on five acres and a prayer. General answer: there is a chance for small farmers, through rural electrification and cooperatives, but not too gay or sure a one. Few or none of the returning soldiers who look forward to farming can be absorbed on the land; and the small farmer at best is threatened by the expanding immensity of 20th-century big-business farming. Most impressive—and to many, most depressing—shots in the film show the implacable march of incredibly proficient machines across vast acreages of California and New Jersey, with human beings assuming a relationship to the soil almost as impersonal as work in great factories, or in the bull pens of great companies.

As America puts pressure on Ireland to suspend diplomatic relations with the Axis powers, this film offers a nuanced and heartfelt defence of Irish neutrality with a backdrop of peaceful images of whitewashed cottages and peat-laden wagons.

Life during wartime for Sweden meant a carefully balanced neutrality in order to avoid the fate of Norway. This newsreel explains the concessions Sweden made to the Nazis in order to remain neutral, while highlighting the ways in which the country was also helping the Allies and defying Germany.

Ventures beyond the Copacabana beach to explain how Brazil – rich in minerals, oil and rubber and strategically vital for access to Africa, and at the time under the dictatorship of Getulio Vargas – was wooed by the USA’s ‘Good Neighbor Policy’ and came to join the Allies during World War II.

The Italian Communist Party in 1948: a force for progress and reform or the last refuge of a desperate population and a threat to the rest of Europe?

Eager science students, devout peasants, tough farm workers and hungry families: this film offered a rare chance for viewers to see the human face of Russia in the aftermath of war.

Fashion Means Business (MARCH OF TIME) compactly investigates that heavy, nervous industry which whets woman's desire to improve, with various fabrics and gewgaws, upon the pelt God gave her. The film ranges, within 18 minutes, from the elegant fountainheads of Parisian and U.S. design, to those frenetic dress foundries along Manhattan's Seventh Avenue in which as many as 100 identical garments are cut in a few swerves of power-driven super-scissors. There are also instructive glimpses of the machinery which stamps a season's fashions upon a whole continent at once: the fashion magazines, the provincial fashion editors, the out-of-town buyers. Respects are also paid to I.L.G.W.U., a strong, shrewd union which realizes that management's Golden Goose needs feeding as well as bleeding.

Where’s the Meat tells in considerable detail where it is, where it isn’t and why it won’t be. There are glimpses of black markets and worried men in Washington, of sharp practices in stores and on the range, and of the small local butcheries which have crammed quick-freeze lockers with millions of pounds of meat, much of it bought point-free, on the hoof. The obvious conclusion: with the demand for meat almost twice the visible supply—despite the slaughter of cattle not fully grown—the best that can be done is not going to be good enough, for some time to come. The film’s approach to the problem, accordingly, is humorous as well as instructive. Best bits of humor: glaring samples of the sycophantic treatment accorded that “pampered citizen,” the local meat-retailer; almost lascivious shots of steaks and chops in all their old-fashioned glory, which might well be forbidden on grounds of mental cruelty to carnivorous America.