Nora has an unusual best friend – Billy the beetle. When climate change causes a major flood and her father fills his ark with animals, Nora launches her own rescue mission: she wants to save all the insects. But her dad dislikes bothersome critters that can spread disease and death, and refuses outright. So Nora prepares her own boat, Nora’s Ark. Father and daughter are drawn into a deep conflict that threatens not only their relationship, but the entire tiny ecosystem aboard Nora’s Ark.
A behind the scenes look at the making of the short film Meurtre du tableau. Released on its anniversary, this exclusive features unseen footage and unused scenes. All created by just two people with passion, in one small room.
Having invaded Lanka to rescue his abducted wife, Lord Ram must face the mighty Meghnad, Lanka’s invincible crown prince. What should have been a righteous battle between equals is manipulated by the gods, who conspire to favour Ram and deceive Meghnad.
A young filmmaker is determined to know her neighbours in the port town of Folkestone. But in the aftermath of Brexit, building new relationships isn’t easy.
The assassination of a beloved Palestinian-American activist in Southern California sets off a 35-year quest for justice that exposes the transnational dimension of the Israel/Palestine conflict.
"My Uncle with the Camera" follows 30 years of home movies shot by Paulo Henrique of his family in Vitória—an upper-middle-class family from Espírito Santo growing up in Brazil during the 1990s and 2000s. Through the intimate gaze of his camera, a political panorama of Brazil emerges, shaped by masculine family affectivity.
This film explores the issues of pride and shame in the national histories of states, addressing topics that spark debate in contemporary societies, such as colonial legacies, wars, religious conflicts, and economic exploitation. As demands for reparations grow in number and intensity, monuments are toppled, and moral values are reassessed, the need to distinguish between personal and collective responsibility becomes increasingly important, as does the need to address whether progress can ever justify atrocities.
Moments before her first performance, a baby drag queen struggles to find her inner self, only to realize that drag is not simply about beauty, but about the queer strength to claim who one wishes to become.
Robin, a shy and insecure young man, accompanies his friend Jérémie to a drawing class where Jérémie is supposed to pose nude. But an unforeseen event forces Robin to take Jérémie's place. Shame, discomfort, and disturbing visions mingle as he tries to hold the pose under the gaze of the students. In this confrontation with himself, Robin discovers an unexpected image of his own body.
In a world between sink attachments and Weight Watchers meetings, Josef feels crushed by his own weight. He doesn't even dare to go to the tango class his brother gave him as a gift to get him out of the house, for fear of public humiliation. But an unexpected encounter with the rapper Monobrother triggers something in Josef.
The maverick entrepreneur and multi-millionaire Hennie van der Most built a business empire from scratch. Now we follow him as he works on what is set to be his final project: creating a large-scale theme park on Rotterdam's Maashaven.
A young filmmaker, once skeptical of incense rituals, sets out to explore faith through his lens. From street vendors to temple youth groups, his journey captures how belief quietly answers life's questions. A heartfelt documentary bridging gods and people, offering hope and reflection in a post-pandemic world.
Bout de viande - Our Body has been taken from us is an experimental short film, an essay on the male gaze. The female body on screen is deconstructed, destroying itself to appease the desires of the male gaze. It's the scream of pain of a body that no longer belongs to itself.
A man is desolate and obsessed with a mysterious transmission from another place and he will desperately tune through the static until he finds it again. Or it finds him.
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