those are the headlines on this saturday night. i'll be back live at 11 eastern. until then "consider this" is up next. for updates around the world just go to aljazeera.com. appear >> for the past month we have been the only tv show to bring you all oscar nominee documentaries. the variety of stories is breathtaking. they range from a death squad to the unarmed organizers and cameramen of you know risings in egypt and yemen. back up singers who fought bigotry, and the victim and

perpetrator of a hate crime who some how worked together to prevent violence. christians through healing and the war on terror. from an amazing holocaust survivor. >> the musk, the musk. >> to successful artists. someone who finds art where no one has locked. to a couple bound by creativity and become pulled apart by it. this is your 2014 oscar nominated documentaries. as america's war on terror creating new enemies wherever it spreads. the claim of disturbing documentary "dirty wars." >> it's hard to say when this story began. this was supposed to be the front line in the war on terror but i knew i was missing the

story. there was another war hidden in the shadows. a night raid. >> so two men in the guesthouse where the first people were killed. >> you saw the us forces take bullets out of the body? >> who were these men who stormed into the hotel and why would they go to such horrifying lengths to cover up their action. >> how would a covert unite taken over the largest war on the planet. >> they're dismissing what you've done. >> why are you still alive? are you paranoid? >> geremi scahill with first hook media which launches in the next few months and wrote and produced "dirty war." it's great to have you here. your movie starts very

disturbingly with an attack of a raid in southern afghanistan where special forces went in and killed 13 people, including a couple of pregnant women, two brothers, one of whom was a police commander, who had been trained by the americans. is that when you woke up to the fact that our efforts around the world are not winning hearts and minds? >> i worked in war zones throughout my life. i knew the c.i.a. had paramilitary, what i didn't understand, and this answers your question, the force that did that raid and does these kill force which is effectively a private mara military force that reports directly to the white house, and they don't operate within the normal chain of command. once they had done that, it was like peeling back an onion to the core of it that took us around the world.

>> and you showed some profess of admiral mccraveen with afghan troops. and he had brought a sheep to the town. the americans were apologizing for what happened there. we have 22,000 special forces that are stationed across the globe across 75 countries. >> it's now 100 countries. the most current statistics that we have from the special operations command. >> is this the way we're going to wage war in the future? is it a special opposite rations war? >> what we're see now, president obama wants to get us away from large scale troop deployment. we're going rely on technology, nsa style. we're getting away from human intelligence, and, using drones and surveillance and go around the world hunting. >> the most horrifying part of the movie is what happens when technology goes awry.

you show a case in southern yemen where a cruise minimum intenmissilesintended for militp on a poor tribe where babies were killed, dozens of people-- >> 14 women and 21 children were killed in that attack. part of what is at the heart of our film, and there has been controversy about it. people have attacked us right and left about our film. at the end of the day is to put a human face on these wars. when these school shootings happen, the reason why we sympathize is because it could be my son or daughter killed in new town or the virginia tech shooting a few years ago. why should we have empathy on the other side of the missiles. >> it would be impossible not to have that empathy. we have a social media question for you. let's go to hermela aragawi more

that. >> have you had any backlash or veiled there's for rereeling reg this. >> all journalists--i receive a senior military official tell meg if lingme if published the s working on i would be on thin ice. it's not a pleasant sight. either you become paralyzed by your fear or you say i'm not going to let them get to m me. you stand up to the attack. >> after all these years whatever the u.s. is doing is working. because there hasn't been a significant terrorist attack since glen first of all, i think we are going to pay a price for this down the line. remember early on in the invasion and occupation of iraq.

look at iraqis pulling down the saddam statute to you. they love us. fast forward there was an insurgency between the shia an sunni communities. we are going to get hit in some form or another in the coming years because of what we're doing right now. >> our next documentary lost the subject of the film in the past week. one of the most remarkable people we've ever seen. at 110 alice hetz summer believed to be the oldest piano player and holocaust player in the world. it literally saved her life. she was used by the nazis for propaganda purposes. she gain worldwide attention and oscar nomination for best documentary short subject. we spoke with the filmmakers before her passing. >> i knew that we will play, and

where we can play it can't be so terrible. the music, the music. the music is in the first place of art. it brings us on an island with peace, beauty, and love. [♪ music ] music is a dream. music is a dream. >> nick reed produced the film. he johns us from los angeles. and the director joins us were m montreal. you help but fall in love with

woman for her spirit. she lost her husband in the holocaust. she son lived into his 60s. she said are a hate breeze more hate. >> i can only make something that mandela or dalai lama something inside them that processes the world in a completely different way. i think if we could all figure out how to do that we would all live to 110 and be laughing and smiling still. >> it's incredible to watcher. malcolm you were nominated for another film, a film about this same camp where alice was in prison. that camp was different from some of the more notorious camps. >> it was not a death camp. it was a feeder camp for auschwitz. everyone who went there had an

expect to be sent down the track across the border into poland where they would be exterminated. but it was an extraordinary collector of famous jews. jews who were nobel prize winners, society leaders, politicians, leading scientists they were collected for propaganda purposes. they were asked to write letters to their relatives and friends and the rest of the world to tell the world that they were okay. they were surviving, and they were--it wasn't as bad as they said the rumors was. it was actually as bad, and it was pretty much worse than you could imagine. >> what they mr. able to do in living inside their minds in horrible condition set them apart and this ability to live in your mind, feel things and see things is incredible. people talked about how when they went to a concert it allowed them to be where else and it recharged their spirits.

it's absolutely remarkable and chose the brain a--shows the brs this incredible mechanism, and alice was able to connect with this power. it's mesmerizing. >> she played more than a hundred concerts while she was in the camp. there was a poignant moment that came from one of her friends. we see this in the film who was in the camp with her. she plains how she found was truly important. >> when you were really down in the hell and come up again, you have learned what matters in life and what doesn't. and what matters is a few things. life matters. human relationships, and that's about it. the rest it not important.

one can live without. and because of this it has enriched my life and i'm grateful. for the experience. >> i know alice feels the same way. nick, what kind of impact is haling on people when you screen it? >> i think all of us that are involved in the film have a phrase now which is "what would alice do" because there is nothing that happens in our life that comes even close to it. that's a very, very balancing thought. and in the screening some of my favorite things has been from the young people, the ten-year-old girl who after seeing the film took up seeing the piano. it's the response from the young people that has been the most beautiful. >> coming up, risking their lives for freedom. we'll get first person accounts of the arab spring from young protesters w rewriting their

future. and documenting the protests and brutal crackdowns in yemen. for your consideration the at scar nominated documentaries continues after this.

>> in the arc of history bends towards justice the road there is rarely smooth. we consider our series with the square. it's a first-hand account of the up rising egypt's tahrir square. it was when hosni mubarak was ousted and what followed. >> these people know what future they want to build, and they build it instinctively. the army needs to step aside. [♪ music ]

>> directed the square. they both join us now from los angeles. the square is streaming on netflix and shown around the country. you talked about the people you had spoken to in egypt, and they had told you egypt felt like it was in a dark place. despite the military takeover they were grateful for what had happened at tahrir square and they didn't think that it would go back to how it was under mubarak. how do they feel now? >> speaking with all of them, they all feel like this is a stronlong struggle. what we can do with film, with art, all egyptians should be respected regardless of political background. all of our characters feel that way and continue to struggle for human rights, freedom of

ex-expression, and justice. >> what was born in that square was a sense of dignity. for the first time egyptians felt that they could be the authors of their future. right now they're committing to their sense of authorship for the future of the country. and i think any force that has come since the revolution has started that has not understood that has failed as we've seen. i think it's an ongoing struggle. i stay optimistic because i believe in the relentlessness of this dedicated few. >> people are getting to see it. what's the response been? >> it's created debate. the overwhelming amount of comments on the film are positive. otherrer some say it's more on the brotherhood. others say it's more on the army. i think its healthy. in egypt we've been living

moment to moment and we haven't had a chance to reflect on how we got here and where we're going. we're extremely excited and optimistic that the film will be shown and the young people will continue to shape the future of the country. >> the fact that it has had recognition shows that this struggle is touching the hearts and mines of people halfway across the world. >> we have to realize that what is happening in egypt is also part of a global struggle. we just showed the film in kiev. it spread and had incredible response. the government of ukraine came out publicly and said they are against this film. they knew it was a plot against the government, and tried to stop the film. it made people want to watch it more.

around the world people are saying we're going to write our stories and be the authors of our future. >> revolutions are defined by courage and strength against the most insurmountable odds but the costs are often brutally high. that's the subject of the next documentary in our series, a short subject film called "karama has no walls." it took 53 lives, the footage is chilling.

>> the director of the film joins us. "karama has no walls" is playing in select cities across the country with other short subject documentaries. great to have you with us. i've never seen anything like this. you had cameras filming these peaceful protests in yemen's capitol as part of that countr country's arab spring. you showed step by step how it started with fires and how these peaceful people were being killed like they were sitting dogs. >> it came as a shock to everyone, myself included. i felt the need to make a film about it. the willingness of this cameraman to stay steadfast in the front line the way they did and document the danger they pit ipitting themselves, just after

the prayers happened, tires that were piled outside of the walls were set on fire and then th it started smoke screens. i didn't hire the cameramen. i didn't know them before then, but i met them with snippets on youtube. and there was a media blackout on what happened of the day. >> the courage of the cameramen, they were shooting at them and people were dying around them. >> it was a symbolic gesture because they knew they would never get credibility from the rest--

>> history is written by the victors but what if those victors are deranged genocide alkylers. genocidal killers. this film covers the crackdown, and killers were asked to recreate their crimes for the film, and incredibly they said yes.

♪ born free ♪ as free as the wind blows ♪ . >> joshua oppenheimer join us from los angeles. he directed "the act of killer." there is a special dvd out now and it's available on itunes, amazon and netflix. on the human level this is the most bizarre film we've ever seen. how the subjects of their film

is among 10,000 killers who are open about their crimes. it's mind boggling and raises the obvious question, how are these people able to walk around free after confessing the murder on film. >> fundamentally because they've never been removed from power. these are men helped the military to take power and been in power ever since. while the military dictatorship formerly ended in 1998 these men still remained in control. unlike aging nazi who is deny what they've done or act ashamed of it, these men ever never been removed from power. they needed to boast so they wouldn't have to admit what they know to be true. >> how were you able to get these people to talk to you in such detail about how they massacred people.

>> i began making this film in collaboration of a community of survivors of the 1965-66 killings. when the army found out we were talking about the killings, the army would no longer let the survivors participate in the film. they said you must not talk to thissel filmmaker any more. before you quit try to film the aging perpetrators. they may boast and tell you how they killed our relatives. >> unsure if i could speak toes perpetrators, i approached them. and to my horrors they were open about the grizzly details of the killings, often with smiles on their faces. often in front of theirs wife, children and grandchildren. i had this feeling that i had wondewandered into germany aftee

holocaust only to find the nazis still in power. >> they really go heavy duty and reenact a lot of what happened back then. >> that process evolved organically. i started the process of working with the survivors and filming the perpetrate necessary the countryside. i filmed every death squad leader i could find working my way up to chain of command in the city. when i reached the city i discovered that their army recruited paramilitary leaders from movie theater gangsters. they hung out at movie theaters often involved in organized crime, and also selling black market movies. they had a love of american movies. i had a feeling that the pain was close to the surface, and at first the boasting was a sign that these men show no remorse,

that they lack any conscience and are proud but that it's defensive, these men know what they did was wrong but because they were never forced to admit it, they're trying to convince themselves that it was hero. >> okay. has there been any change in indonesia since this movie came out. could you go back. >> i cannot safely go back to indonesia. i could go in, but i don't think i would get out again. it talks openly about the genocide and the present day regime of fear and corruption and it led the media to start investigating the genocide as a genocide. and the government to admit what happened was wrong. >> spending on prisons is skyrocketing not only because our prison population is growi growing, but because it's aging,

and it's far more expensive to care for older prisoners. the iowa state penitentiary is pro filed in the documentary "prison terminal." >> i thought it would be what i can give for the patient and what i can do to make them feel better. but when you do what you do, the feeling you get back from them, you can't describe it. [♪ music ] for once i'm something that i thought i could never be. >> edgar who directed the film joins us from chicago. "prison terminal." edgar, thanks for joining us. congratulations on the nomination. >> thank you, antonio. >> these hospices like the one at iowa state penitentiary help

these prisoners in their final days. >> well, i mean, for the most part most prisoners die in their cells by themselves, in an infirmary possibly by themselves, or in a state hospital shackled to their bed with a guard outside of their door where no visitors can come. so the prison hospice program enables the terminally ill prisoner to die with possibly family around and friends from the prison that he has done time with over the years. >> and research shows that one out of every five prisoners is elderly. more than 100,000 are expected to die in their cells alone over the next decades. what impact do you think this hospice is going to have on these prisoners turned patients. >> medical parole is rarely used for terminally ill patients.

so the hospice program is the next best thing for prisoners who are destined to die behind bars. the benefit of this program is that this particular program in iowa trains the inmate to be a hospice volunteer, and they can help their buddy go through the dying process. that is comfort care, and simply sitting there holding their hand as they die. >> what do you say to people who think, well, why are we going out of our way to do anything for people like jack who killed people? should they be give an easier death than they've given to other people? >> they've done horrible things to other people. i feel as a society we need to be better than they were when they committed their crime. i know for some people it is hard to stomach. if you want to look at it in an economic way it is a budget saver. the inmate knows that their

medication will be slowly taken away, and they'll be taken care of pain free and they'll slowly die. people who are worried about economics and this program is going to cost too much. it costs very little next to nothing. >> that was my next question for you. is this something that should and could be replicated in prisons across the country, not just for the prisoners, but for tax payers? >> well, that's why i made this film, to tell you th,to tell yo. i want this program to be replicated across the country or even standardized legislatively passed in law to make this standardized care. at this point the elderly population in prisons are growing so quickly. the program in iowa, the one i filmed, used a lot of community volunteers. they would get church groups to knit the quilts. they would make things at their own costs.

it's a no-brainer in the sense that this program can be replicated at no to low costs across the country. >> just ahead describing the civil rights struggle through song. back up singers who had their path to stardom blacked by prejudice. and an act of bigotry, consider this for your consideration is back after this.

>> the physical distance between back up singers and the star they're backing may only be 20 feet, but the struggle to get from one to another a lifetime. with obstacles that have nothing to do with talent. >> there is a power for these women to stand on the stage. it's a bit of a walk is complicated. >> my greatest pleasure is to stand back and let them do what they do. >> it could easily become quick sand if that's not what you want to do. >> there are no guarantees in

entertainment. >> i felt like if i just gave my heart to what i was doing i would automatically be a star. >> morgan directed the film. he's nominated for an oscar. 20 feet were stardom is available on itunes, on demand and dvd. you have profiled huge stars in the past. now it's back up singers. what did you see as the biggest difference between attitude and approach between the two? >> there is a world of difference. we talk about that 20 feet being the distance from a lead sing for back up singer but it is vast. and i think most back up singers trying to contend with that distance. it's something that they all have to come to terms with. s not just about talent. it's one of the messages of the film, which is an industry that values image and ambition and luck and timing and all these other things. the talent can be far down on the list. i think that could be a tough

psychological pill for a lot of singers to take. but the women in our film have come to terms with it, and have a lot of lessons to teach. >> mick jagger says in your film that it's great to sing ooh and aaahs, but it gets old. and you bring up the issue that prejudice may have been part of the problem? >> the backup singers are probably the most disenfranchised women in the industry. they're mainly women and they're mainly african-american. and it's the ghetto part of the industry itself. the film touches on human rights issues. there were only so many slots, there wasn't a whole lot of room for african-american women to

rise up, but a lot of white male singers rose with ease. >> the move from back up to rock-n-roll hall of fame career, but she ended up as a house made. let's look at how she got assigned during that low point. >> bun particular christmas i was cleaning this lady's bathroom. [♪ music ] and "christmas baby please come home." my christmas record came on the radio while i was cleaning the bathroom. and i just looked up and said, okay, all right, this is not where you're supposed to be. you're supposed to be singing. there is a whole world out there who wants to hear you sing. >> you profiled judith hill, who is spectacular. viewers may know her because she

was going to be on the michael jackson tour that never happened. she went very deep on "the voice." she even had a moment on the jackson thing and on "the voice" they was a backup singer and she did it in disguise on television. it's really a struggle for these people. >> it is. and it's interesting. when judith was on "the voice" and she was voted out, i looked at comments, there was a bit of a backlash against her largely across the lines she's already made it. she's professional. she's a backup singer. she shouldn't be on the competition show. but the entire time we were making the film she slept in her childhood bedroom at her parents house saving her money for a record. i will tell you now because of the film and because of her brilliant talent judith has been signed to sony records, and she'll be putting out a record. >> we continue our look at oscar

nominated documentary with facing fear. it focuses on tolerance and lack of it led to forgiveness. a 17-year-old who was gay came across skin heads. >> they started beating me and got me down to the ground. >> i saw him still moving. i said what is wrong with you guys? don't you know how to put a boot in? >> i remember looking into that face. i remember looking at that mohawk and those eyes. >> i kicked him in the forehead and he was out. >> they believed with everything in them they had accomplished the goal of killing that kid in the alley who had never spoken to them, had never said anything to them.

the words of what i saw were far more painful in my life than the woods and the blades. >> 25 years later the victim and his attacker met again. matthew and tim join us from los angeles. jason cohen is the oscar-nominated director of the film. he also joins us from los angeles. it took your little son saying a racial slur to wake you up to where your life was, and you also ended up at the museum of tolerance, and you meet matthew. tell me about that meeting. >> i had been there at the museum of tolerance for five years prior to matthew coming on the scene. we had stepped out to have coffee and to discuss a group that was coming into the museum a school group. there was a specific hot dog stand that we used to stand at.

they said had you ever heard of this place. i said i quit hanging out there because there was a night that was very violent. then there were questions, a very awkward moment for both of us. >> what makes the story remarkable is that forgiveness did not come easy. they had issues to deal with. >> yes, that was sort of a big motivation for the film, to explore this process of forgiveness that the two of them had to go through, which was not an easy process, it's not cut and dry, and it's not an overnight thing with the two of them, both of them had personal issues they were struggling wi with. most matthew and tim, and it took a lot. they were not necessarily wanting to be around each other from the get-go, and then started doing this presentation. we wanted to examine how they ended up where they are now, which is in a good place. but there was a lot that went into that.

>> matthew, it's difficult to imagine forgiving someone who almost killed you. how long did it take, and how did you get to that place? >> it took a few years. it took a lot of--it started with wanting to know why they had chosen me, why those things happened? part of the process was tim's willingness to be honest, open, and share the details of that night which helped me actually in some way move forward and pass it to a point where i could forgive tim completely. you know, during the presentations that we do together also helped that process because we work together extensively. so i think unlike most people i was in an unique situation where i could be around what once was my perpetrator and work through the issues that we worked with singly and together achieving the common goal. >> he would ask from the audience, matthew has forgiven,

and god has forgiven you, but have you forgiven yourself? >> i had to deal with it. it was very difficult. >> most of us have not gone through such a horrific experience that th these two men have gone through, but we can take it and apply it to our lives. that was the goal of the film, present the story and let people take it back and see how it affects them in the personal life whether it be a small dispute with friend or family member. we've shown that the film around the world at this point and people are really reacting to it. and wanting to talk and open up a discussion about compassion and love and forgiveness. >> straight ahead documentaries about artistic obsessions from a man who spent years underground creating spaces where no one has ever envisioned them top a couple divined by art, love, endless bickering andturous ands

competition. >> it was almost a miracle. >> revealing interviews. >> everybody's worked with a gay person. >> the latest in science and technology. >> i'm walking, you guys! >> when you look at crickets you don't necessarily think food. >> eye opening reports that make a difference. >> certain to dominate political discussions. >> award winning documentaries. >> i think a person has the right to know where the hell they come from. >> your house is the same size as my closet. >> the shows that get people talking. >> sundays, only on al jazeera america.

>> with al jazeera america. >> we continue to lock at oscar nominated which. when does art become an obsession. an unusually artist. >> when he has a shovel in his hand he's like a coke addict with piles of coke. he just wants to keep going and going. >> he is not your typical person. he does not do things for himself. he does things for art. >> i don't put any energy into being a success. my strategy is to wait for something from heaven. >> i'm a guy who dug this. >> this is incredible. >> i had ideas for ages that i've never gotten to try. i want to create a stays that transforming. >> jeffrey join us from los angeles. the film's director and

producer. jeffrey, good to have you with us. you followed him and he built these incredible artistic caves. he does it all by hand. he doesn't use power tools. he does it all by himself. >> he starts with a mountainside. there is a particular material that he can work in that has a combination of a malible i wil o it, and he can recognize this material. and he can see from the outside of the mountain the shape inside. and he starts digging in one direction and creates these cathedral like spaces over the course of months or years. >> one of the caves that he has finished has book shelves, doors and all sorts of details. how livable are the spaces? >> that one is the most livable of the caves that he's created. it is also wired for electricity

and it has internal plumbing, and it has a bathroom in it. the other caves are more used for meditation or just relaxing or chanting. i think people tend to use the caves more for that. >> he seems to have inner conflict for wanting recogniti recognition. then when he gets work for clients, the clients order--ask him to build one of these caves, he has issues with that. let's look at a clip. >> i couldn't quite get him into the mindset that we were working together. he was off on his lone artist thing. >> it's definitely important for me to have a repower with the people that i'm a project with. they have to trust me to a certain degree. they certainly have the input, but i'm not the paintbrus paintd my client is not the painter.

>> your film seems to say something in general about artists. it's something that they have to do, it's not a choice. he let's his relationships go when he's digging. he becomes obsessed with his project. >> i would say obsess is a word that even he uses about himself. there is no other place he would rather be than under the earth digging and carving. for me it's a fairly unpleasant profession, but it gives him tremendous joy and fulfillment. >> the arrested work has a long stormy relationship. what happens when the mentee emerges from the mentor's shadow. we end with "cutie and the boxer." >> with his exhibit across japan

american collectors say that's a wonderful image but not my taste. [♪ music ] >> zachary made his direct directorial debut on the film. let's star with the artist. it is the story of a stormy relationship.

and his wife has become a significant artist in her own right even though for a long time she was totally under his shadow. >> that makes up the narrative of the film. i was really inspired by her art, and that's the point where i decided to make the feature-length film. it started out more as a biography, and ushio's work. but really it was her fire and energy and the tension between them that became so much more interesting and universal for an audience who could find themselves in their relationship whether you're an artist or any person that is doing anything that requires something creative or you're passionate about. especially for couples that are in long-term marriages, and certainly couples who have similar careers as well. >> ultimately does that kind of tension in the couple work in their favor? >> it keeps them young. if you look at them, they're

ageless. ushio is 82 and has the energy of a five-year-old. >> i know. let's listen to her describe their relationship. >> sure. [♪ music ] >> heaven or hell. but in the end when you showed him, ushio the finished film. it wasn't relationship issues that mattered so much, but he wanted you to edit the film. >> yes, when i turned the tv off from the first screening, his reaction was, so this is a love

story. i said, well yes. he kind of grunted and clearly was disappointed that the film wasn't more about him, focused on his art work. he had been under the impression that it really was about him. luckily enough noriko was there to combat each of his criticisms with an equal and greater response on my behalf. ushio thought it was too long and i should cut off the last 30 minutes of film. >> which is mostly about her. >> yes. >> like i said, big artists in japan, but you also show how they struggle. is it that hard to make a living even when you're a fairly renown artist like that? >> it's hard to say. i mean, ushio came over in 1969. i think he never really learned english. he never was sort of managed a n the proper way. competitive art field.

his art is difficult to define. it sort of fits in all these categories of pop art, of sort of post abstract expressionists, japanese, eastern, western. >> paintings and sculptures. >> you couldn't escape the legacy of the boxing painting which was this pure form of action art where his body was the art and the performance was the art, and it was cycle renown and groundbreaking. it was hard for him to move on from those pieces. that's what he wanted to do. it's hard for artists to reinvent themselves. >> he actually started filming himself early on, so you have footage from when he started in the early days in new york. which makes it more interesting. the movie has been successful. it's led to great things for your career. >> yeah, i mean, it's led to--it's great for everyone involved in the film. it's great for the artist. we had a number of exhibitions

tied to the film. >> where you had been hanging out with beyonce. >> yes, i had the opportunity to work on a series of sort of short films announcing the release of her secret album that came out in december. really amazing project. the mammoth project, two years of footage to kind of condense and try to make sense of. >> they had been working on the album for, working with justin timberlake, timberland, her husband, all these amazing artists. >> and this took five years. it was worth it, i'm sure. "cutie and the boxer" is available on itune, dvd, blu blu-ray. all ten of the films we just profile ready either available online or in the case of a short films playing together

theatrically in select cities as part of a special program. please check them out. they cover important and unusual subjects you don't see very often. thanks for watching. have a great night. >> >> in is al jazeera america, i'm jonathan betz, live in new york. >> it is time for the russian intervention in ukraine to end. >> tough talk at the u.n. as ukraine goes on high alert. the security council calls on emergency meeting. >> mass soldiers in the street. russia seizes control of a key region and prepares to send more troops. >> dangerous mudslides threaten homes in southern california - hundreds forced to leave their homes. >> carnivale is under way in brazil. we take you beh