홀어머니와 동생을 위해 범죄로 가득한 거리에서의 삶을 정리한 쇼카. 하지만 이러한 쇼카의 노력에도 불구하고 거리의 삶을 동경하던 동생 투카는 결국 싸늘한 시신이 되어 돌아온다. 이에 쇼카는 어린 시절을 함께 한 친구 터키와 함께 범죄와 배신으로 얼룩진 거리로 다시 돌아가 피의 복수를 시작하는데…

Returning wounded from the war Maksym was overcome by self-doubt, in his physiological state. He is undergoing rehabilitation. He loses contact with his wife. He is tormented by dreams. In one of his dreams Maksym goes to the island to catch a lot of fish, as the paramedic advised him. Maksym takes a boat, net, dynamite from the best man and sails to the island.

What do we do when the Federal Government steps outside of its constitutional limits? Do we ask federal judges in black robes to enforce the limits of federal power? Do we "vote the bums out" in the hopes that new bums will surrender their power? Thomas Jefferson and James Madison didn't think so, and neither should we. The rightful remedy to federal tyranny rests in the hands of the people and the States that created the federal government in the first place. It's called nullification, and it's an idea whose time has come.

Let’s get SICK’NING for the Holidays! RuPaul’s Drag Race legend Laganja Estanja is here for Hey Qween’s Very Green Christmas Special!

Arvind Chauhan and Lakhsmi are in love with each other. Lakhsmi's dad, a senior police inspector, hates Arvind, and so Arvind and Lakshmi decide to elope

Toji Seryo is a popular first year high school student. It's well known that Toji Seryo will date anyone that confesses their affection for him on a Monday, but he will break up with that person by Sunday. Yuzuru Shino is a third year student at the same high school. He looks pretty, but all of his former girlfriends end up dumping him. Yuzuru Shino becomes curious about Toji Seryo. On a whim, half serious and half joking, Yuzuru Shino asks Toji Seryo to date. The film is based on a comic. Part 1 follows Monday to Thursday. Part 2 follows Friday to Sunday.

"WE ALL PLAY" addresses the reality of the LGBTQIA+ community in sport. In a trip around the world, we will meet outstanding world elite athletes, who will talk, many of them for the first time, about their personal and professional experiences in first person.

거대한 파국이 스쳐 지나간 뒤의 가까운 미래, N은 아이와 함께 국경을 넘으려는 한 여성을 마지못해 돕는다. 짐 속에 그녀와 아이를 숨겨두고 병사들 몰래 철도를 달리는 N은 자신도, 다른 이들도 지켜낼 수 없는 절대적인 위기를 직면해야 한다. 은 파국 이후의 삶을 철저한 비극으로 그려낸다. 어떤 인간성도, 삶의 조건도 사라져버린 척박한 환경 속에서 더욱 가시화 되는 것은 소수자들에게 드리워진 폭력성이다. 감독은 그 속에서 여성들, 소수자들의 연대를 통해서 잔인한 현실을 극복할 수 있는 가능성을 제시한다. 물론 그 가능성을 현실로 만들어내기란 절대 쉽지 않다. 흑백화면에 펼쳐지는 극단적인 설정들을 통해 소수자들의 고통을 더욱 극대화시키려는 감독의 의도가 돋보인다.

Images fall apart, data decay, glitches, algorithmic transcendence. The moon raises over mountaintops, melts with the woods. A path dissolves with the view. Colors rendered liquid. Data holes vanish in the distance. Memory, processing, nothing lasts forever. A hike through a natural reservoir; recorded, saved, consolidated. A landscape interpretation by means of MPEG algorithms. In #47, alternating fixed camera shots and pans display a landscape from the hiker’s point of view. Where the path leads to, remains unclear. #47 belongs to a video-work series, researching the relationship between landscape- representation, perception and the unconscious. The technics applied to the footage are a mix between some hacking of the MPEG-information and faulty encoding settings. During this process, crucial data is removed from the MPEG-stream and fed back to the computer to make it ‘work’, forcing software to re-interpret the visual information.

Indira decides to restart her life and move to London. However, on her last day, she dares to explore what she will leave behind.

Released from the orphanage at the age of thirty, a man dreams of finding his mother.

People is a film shot behind closed doors in a workshop/house on the outskirts of Paris and features a dozen characters. It is based on an interweaving of scenes of moaning and sex. The house is the characters' common space, but the question of ownership is distended, they don't all inhabit it in the same way. As the sequences progress, we don't find the same characters but the same interdependent relationships. Through the alternation between lament and sexuality, physical and verbal communication are put on the same level. The film then deconstructs, through its repetitive structure, our relational myths.

A woman is taking an old elevator up to her new apartment that she has just moved into. The oddly old and ringing phone inside the cabin is freaking her out. Over the line she is told about nightmares that are about to become true.

School is over for the day. A stationary camera is trained on the door of the high school at the top of a few stairs. A man and small boy emerge, followed by wave after wave of boys, each in jacket and tie, most wearing caps. A few are arm in arm. At least 150 boys and young men appear. Then about 120 women and girls appear, parting to go in either direction down the sidewalk in front of the school. All are in long skirts and wear big hats; most wear blouses and jackets or coats. Some are adults; most seem older than the boys who've left just ahead of them. The last person to leave is a gentleman.