Midnight Toughts

Italian immigrant kidnaps a wealthy British woman, and they fall in love.

Joel Barish, heartbroken that his girlfriend underwent a procedure to erase him from her memory, decides to do the same. However, as he watches his memories of her fade away, he realises that he still loves her, and may be too late to correct his mistake.

A former Prohibition-era Jewish gangster returns to the Lower East Side of Manhattan over thirty years later, where he once again must confront the ghosts and regrets of his old life.

After All is said and done. A man clears out his childhood home, remembering past conversations.

Avant-garde homage to pre-revolution Russian silent movies, and to the poet Aleksandr Blok.

Olappeeppi portrays the story of an ordinary Malayali family and the changes in the socio-economic scene in Kerala from 1970's to the 2000's . As the name suggests, its about colours of the past, taking us to that era along with a boy named Unni and his grandmother.

A departing professor gathers his closest colleagues for an intimate farewell, but the night takes an unexpected turn when he shares a stunning secret about his past. As the conversation unfolds, skepticism and curiosity collide, challenging everything they thought they knew about history, science, and belief.

A spell of time in the life of a family in rural Tochigi prefecture. Yoshiko is not an ordinary housewife, instead working on an animated film project. Uncle Ayano, a successful music producer, is looking to get his head together after living in Tokyo. Meanwhile, Sachiko is concerned with why she seems to be followed by a giant version of herself. As the lazy days pass by, each member of the family is followed in a series of episodic vignettes.

Caught between a lost-love story and inescapable paranoia, "Go/Don't Go" is a genre-bending slow-burn thriller that follows Adam, a wallflower who happens to be the last person left alive--or so he thinks.

Sequence of five shots, each one with a particular color treatment, in which a man carrying a machine gun runs. He moves fast in the beginning but, as the end comes closer, he starts to walk in zigzag. Is he hurt?

In a tale of grief and rebirth, a young woman, paralyzed by the overwhelming weight of emotions, confronts the heart-wrenching choice between numbing her pain forever or embracing the agony to rediscover the beauty of feeling alive.

Two childhood friends, each held captive in time by a tragic moment, travel through the world of memory to find their respective path to freedom.

CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect ...

CREMASTER 4 (1994) adheres most closely to the project's biological model. This penultimate episode describes the system's onward rush toward descension despite its resistance to division. The logo for this chapter is the Manx triskelion - three identical armored legs revolving around a central axis. Set on the Isle of Man, the film absorbs the island's folklore ...

A psychiatrist tells two stories: one of a trans woman, the other of a pseudohermaphrodite.

In 1952, Amédée took his own life by jumping into the Seine. No one knows the reason for this tragic act. His story comes to us in bits and pieces.

A take it or leave it auteur-experimental fiction exercise: two women are monitoring their dreams, dreams that may of course also be stark naked reality, at least to the dreamers, as they come and they go like bubbles, rising, floating, bursting. A man appears out of nowhere. Poet Peter Laugesen co-wrote the script with Tom Elling, who was Lars von Trier's director of photography on "The Element of Crime".

Hoping to find a sense of connection to her late mother, Gorgeous takes a trip with her friends to visit her aunt's ancestral house in the countryside. The girls soon discover that there is more to the old house than meets the eye.

Nesrin and Erdem talk about their relationship, which they don’t remember in exactly the same way. Çevik’s visually stunning essay uses their conversations to forge a pensive treatise on what it means to forget, where word and image play an equal role.

A bereaved woman utilizes near-future tech, in an attempt to recall the comfort of a mundane memory with a recently lost loved one.