Gloss

The story of a wealthy man saving a ‘fallen’ woman has become a cliché (Pretty Woman, Anora), far from the reality of prostitution. But what if sex workers told their own stories through art?

With seduction and declarations of love, young men emotionally manipulate their ‘girlfriends’ to use them as prostitutes.

Women migrants in the makeshift camps around Calais are particularly vulnerable.

Patients and therapists talk about their experiences of psychotherapy.

Lulu's young, and carefree. And pregnant. She's not ready. What now? 

Loulou minds her neighbour's baby to sharpen her mothering skills. Her training doesn't go well...

Loulou meets Violette, Max's new girlfriend. Violette loves wine… “and sex”

When Loulou has to admit to something to her parents, she relies on her friend Max to sweettalk them: but this time she's beyond even his help

Loulou is happily pregnant, until she realises the baby was conceived two months earlier than thought. Is Marcus the father?

Marking the opening of the 60th edition of the Montreux Jazz Festival, RAYE invites a host of international pop stars to join her on stage for an evening of music.

Cologne, Autumn 1944: In the bombed-out city, a small group of young people put up armed resistance against the Nazi regime

Audio pornography leaves room for the imagination while arousing the listener with erotic stories

An odyssey through Iran in search of a lost father for one Tehrani teenager and her friends.

Does wealth make you happy? Or maybe true wealth is having nothing at all?

Why do massive inequalities exist despite a global economy that has produced the most wealth in human history?

Art and nature with adventurer Lise Wortley, photographer Max Fischer, The Walk Productions and artist and runner Vincent Dogna.

With one of his paintings, Gerhard Richter made an intervention into a long-running an passionate debate: Which way round should you put the toilet roll?

Some Paleolithic burials are exceptional. Dated around 25,000 BC, they are far more complex and decorative than we usually give the era credit for.

It seems that scientist have proven that the enigmatic gaze of the Mona Lisa does not follow you as you move around the room. So why did we think that in the first place?