In Saint-Nazaire, heavy industry operates in the open air, where the Loire meets the Atlantic Ocean. The film brings together images of the estuary’s landscapes with the words of those who live and work in the area, portraying them as individuals caught in the contradictions of our time and of contemporary labor.
Zach is a suburban father haunted by the impending arrival of middle age as he juggles the demands of work, family, and the sale of an investment property. When his wife and daughter go away for a short trip, he seizes the opportunity to live out a day as his younger, less responsible self. A spontaneous encounter with a fellow skater feels like a victory until an unsettling connection between the two emerges. The result is a forcible confrontation with his own bourgeois standing that shatters the illusion of Zach’s carefree day and sends it spiraling into dark territory.
End of the Line is an anthology of three short films (The Brief Case of Maya Moon, The Red Widow, and The Extraordinary Experience of Dick Shatner), all of which take place on one reality defying steam train.
After a failed suicide attempt due to immense drug debt, Noel is released from the psych ward, and Enzo, her plug, will stop at nothing for his money back.
The feature directorial debut of Jiang Wenjie, cinematographer and editor of Keep Rolling, explores the inner lives of three female Hong Kong writers: Hon Lai-chu, Lee Wai-yi, and Human Ip. Though their styles and thematic concerns differ considerably, the film shows that their literary works are all informed by their immediate surroundings, whether that be a childhood home, the streets of Sham Shui Po, or the cattle and woods near Lai Chi Wo village. Time may inevitably erode everything in this city, but these writers continue to tell their hometown's stories in their own unique ways.
When sophomore Tyler Cameron vanishes without a trace, his roommate Brandon James receives a chilling warning: he has 48 hours to find him… or to discover what’s left. Every hour brings new threats, new clues, and the terrifying realization that someone is watching Brandon’s every move.
ìfé: (The Sequel) picks up from the events of the first film, with two women, Ife and Adaora, crossing paths again, years apart from their past passionate dalliance. Adaora has settled comfortably into domestic life with her husband, while Ife found love in South Africa. However, all of this threatens to fall apart when the pair reconnect unexpectedly at a Lagos book store. The film unfolds as an exploration of love, choice, and identity in Nigeria. It is an intimate and political look at the universal longing for connection and the courage it takes to live authentically.
A fourteen-year-old grappling with gender identity accidentally records Bigfoot footage. Their family confronts town's unwillingness to accept child's transition from girl to boy, preferring to embrace Bigfoot myth.
Mala, a woman in debt due to her hedonistic lifestyle in the city, returns to an orphanage to find solace and reunite with her old friends. However, after experiencing a strange event, she, Tiwi, and Nugra, embark on a journey to a mysterious house in the middle of the forest plagued by evil spirits. The journey uncovers dark secrets from a family's past and leads Mala on a journey to find her true identity.
Two brothers from Dnipro worked in telephone fraud before the start of the full-scale war. Their "business" thrived on quick money, risk, and the absence of moral boundaries. However, the war fundamentally changes the heroes' lives: the younger brother returns from the front and decides to use his skills no longer for enrichment, but for fighting the enemy.
As the new year begins, Leonor lands the breakthrough of her career: narrating a wildlife documentary series. But as she immerses herself in the world she describes, the line between reality and fiction begins to blur, awakening the lioness within.
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