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The film consists of three sequences shot by a fixed camera: the first shows the balcony of a hospital with patients (soundtrack from the film "Vivre sa vie" by Jean-Luc Godard), the second is a scraped wall and the third is a crossroad with pedestrians and cars (sound taken from the film "The Time-Machine " by George Pal).

Dementia draws a woman into a world of memory loops, losing her love her spirit, her present her past.

Five passengers encounter a mysterious woman on a train. While we strain to hear their whispers, we are confronted by the passengers' reactions. Dark and secretive, this journey will leave you with questions playing on your mind.

BARE BONES is an experimental short film written, directed and scored by DEBBY FRIDAY. Conceived during the Covid-19 lockdown and shot in Vancouver, BC on 16mm, the film tells the story of a young woman who swallows a bee and begins to undergo a hallucinatory and transformative experience. Abstract visual sequences depict time and space fracturing around her as she succumbs to wave after wave of pure feeling.

In the aftermath of a massive earthquake in California, a rescue-chopper pilot makes a dangerous journey across the state in order to rescue his estranged daughter.

A group of Staten Island radicals lead by ex-philosophy student Marie and her boozy filmmaker boyfriend Nick attempt to kidnap the CEO of the Leo Corporation but instead accidentally capture Daniel, a nutty small time accountant. With Daniel in custody at their commune, several of the radicals attempt to 'revolutionize the bedroom', an endeavor further complicated by a surprise visit from Marie's tough boy ex-lover Junior.

When a professor develops a vaccine that eliminates human allergies to dogs, he unwittingly upsets the fragile balance of power between cats and dogs and touches off an epic battle for pet supremacy. The fur flies as the feline faction, led by Mr. Tinkles, squares off against wide-eyed puppy Lou and his canine cohorts.

Colossal explores the complexities of grief and the process of grieving as understood through the myth of a Man as he ventures through shifting landscapes ruminating.

At first, there was Tagalog, Gym Lumbera’s short and, to his mind, unfinished narrative about the infidelity that comes between a husband and wife in their twilight years, shot on film and reflecting his own real-life infidelity.. And then there was a storm, a real storm and not a metaphorical one, that flooded his house and submerged, and subsequently damaged, the only copy of Tagalog. This damaged version, entitled English, became the missing piece that completed the film. The new work is named after Taglish, the bastard hybrid, some say corruption, of Tagalog and English, and has become a meditation on love and language and the ways in which we betray and destroy them.

Basically an artist is also a terrorist, the protagonist thinks in an unguarded moment. And if he is a terrorist after all, then he might just as well be one. Not an instant product, but an experimental feature in which diary material is brought together to form an intriguing puzzle.

"Mapang-akit" is an offshoot of a documentary project made with an Icelandic filmmaker and uses the outtakes from the Hudas Hudas festival in Antique, where a community bonds over a large effigy of Judas Iscariot during Holy Week. Amidst it is a found story of a man who returns home to his death after pursuing a woman in a neighboring village.

Grappling with the burden of loss, a drifter becomes engulfed in the reckless lifestyle of a group of bohemians. Through a series of events, he is forced to confront his trauma as his haunted past and unconventional present collide.

Three kids are trying to stand strong. In a world where you don’t know for what you want to stay strong. Full of sexuality and the need to define their identity. “We are the children with no obligations, the most possibilities, with the most liberated freedom. We are children who build words. Children who give birth to children. We are children of our time, free from guilt.”

A story of diaspora. The film criticises the myth of Swiss neutrality, which violently masks structural, systemic, and social passivity.

After moving to a small town, Zach Cooper finds a silver lining when he meets next door neighbor Hannah, the daughter of bestselling Goosebumps series author R.L. Stine. When Zach unintentionally unleashes real monsters from their manuscripts and they begin to terrorize the town, it’s suddenly up to Stine, Zach and Hannah to get all of them back in the books where they belong.

Normality is a human state of good intentions, empathy, caring and wanting to do the best for those we love and the world at large.

Contemplates the notion of "identity" through the experiences of a Puerto Rican woman living in the US. In a wonderful mix of fiction, archival footage, processed interviews and soap opera drama, the film tells the story of Claudia Marin, a middle-class, light-skinned, lesbian Puerto Rican photographer / videographer who is attempting to construct a sense of community in the US. Confronting the simultaneity of both her privilege and her oppression, this experimental narrative becomes a meditation on class, race, and sexuality as shifting differences.

A visually experimental adaptation of the classic Frank Stockton short story.

Villainous Gru lives up to his reputation as a despicable, deplorable and downright unlikable guy when he hatches a plan to steal the moon from the sky. But he has a tough time staying on task after three orphans land in his care.

In this avant-garde look at a series of unique or eccentric men and women, director Stavros Tornes has created a film that is visually engaging, but too obscure in many points to be understood. The main protagonists are a young taxi driver -- a man who has had some very unusual, puzzling, and inspirational experiences -- and a middle-aged painter he gains as a new friend. The two men are complemented by a few tough women (all played by the same actress), a pair of verbose politicos, and a handful of other distinctive characters. By the end of the movie, transformations are in store for the pair of friends, reflecting the tenor of the film throughout. ~ Eleanor Mannikka, Rovi