Eidolon

A Victorian surgeon rescues a heavily disfigured man being mistreated by his "owner" as a side-show freak. Behind his monstrous façade, there is revealed a person of great intelligence and sensitivity. Based on the true story of Joseph Merrick (called John Merrick in the film), a severely deformed man in 19th century London.

Crépuscule d'Été

A movie that portrays a reflection about sense of being self, to love and to be loved.

Melvin, a teenager, returns to his past in an attempt to remember who he truly was after feeling he left himself behind. He confronts his teenage and childhood selves to reflect on the pains and changes of growing up, realizing that "growing up means losing and leaving behind versions of ourselves." A nostalgic and reflective journey about time, childhood, and accepting the constantly changing self.

Dismissed by those around her, a young woman begins performing as a living statue, finding strange power in stillness, until she reclaims the spotlight on her own terms.

Cinnamon Swirl follows Annie, a young woman in a long term relationship. When she meets Alvy, at a party, she realizes that she might have outgrown her partner. How can these feelings can be conveyed? Stability or experiences? Past or future?

Daughter explores the way women are viewed in society by following three female characters on a Friday night out in St Kilda, who's lives become entwined and affected by an act of violence this fateful night. The award winning short film and an awareness project was inspired by the tragic murder cases of Jill Meagher in Brunswick and St Kilda's own Tracy Connelly, whose occupation as a sex worker was highlighted in the media, leading to her murder and personal story being sadly overshadowed. The main themes explored in the film are violence against women and victim blaming, shown through the eyes of three female leads, lead by Katherine Langford (13 Reasons Why) as Scarlett, Aisha Tara (Heartbreak High) as Jemma and Carolyn Rey as Alethea.

Amour et Pissenlit

A young painter battling depression finds solace in her art and alcohol, but her inner thoughts eventually surface, forcing her to confront them. Through this introspection, she undergoes a transformative journey.

The turkish ambassador is said to visit a village in Hungary.

Coming to Nothing follows a disgruntled young man trapped between guilt and survival, shaped by an alcoholic father and the unforgivable weight of abandoning his younger brother. Every attempt to cope—through love, indulgence, or isolation—only deepens the damage, turning connection into betrayal and self-protection into ruin. Whether he chooses responsibility or escape, the outcome is the same: loss. The film confronts the brutal truth that sometimes living through the wreckage hurts more than almost not living at all.

A man who spends his nights offering emotional support struggles to confront his own inner life by day. Aspiring to be a writer, he drifts through routines of procrastination and self-neglect, unable to return to the page. As time slips away, failed attempts at reinvention force a reckoning with the version of himself he has been avoiding.

We get to follow a young man in his thoughts, where he shares his thoughts about anxiety and depression.

An aging artist confronts his traumatic past as he paints a portrait of the beachside home he grew up in.

Director and actor D.C. Stoy explores the nuanced nature of a character's non-linear timeline, which pits the mundaneness of stability against his internal desire for more out of his life, where risk is the reward.

The Metaphor That Became a Room is a psychological drama exploring identity, communication, and the struggle for self-understanding. Divided into two parts, the film first delves into the protagonist’s frustration with the urge to persuade others, realizing that over-explaining only distorts meaning. A note from the past echoes a hard truth: “Someone’s unwillingness to understand will always outweigh your effort.” In A Symphony of Unfinished Selves, the narrative shifts inward, revealing the protagonist’s fractured identity. Trapped in a metaphorical room built from illusions and contradictions, he reflects on his dual persona—the social facade and the hidden, lost self. The film questions how we see ourselves versus how others see us and whether true self-recognition is possible. Through minimalist dialogue and layered symbolism, the film captures the silent tension between who we are, who we appear to be, and who we long to become.

Kanae's husband disappeared without a trace while on a union trip. Though usually headstrong and independent, the woman becomes plagued with worry over what happened to him, and is unable to move on with her life. Thus, Kanae decides to hire a private investigator, and keeps running the public bathhouse to the best of her abilities. As he tries to figure out the truth about her husband, Kanae must deal with the stress from a work-intensive job, meddlesome neighbors, and recurring nightmares in which she is drowning.

Jujuba & Nicolas

In a bar, Pauline writes to a man she does not know. Between desire, art, and projection, reality eventually begins to crack the story she has invented for herself.

X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.