Anal Paprika

Glen and his friends are attending a co-ed school and are managing to have a very enjoyable time of it - in fact so much so - that Glen becomes engaged to one of the fair co-eds. His sister precedes him to the home town and breaks the news of his engagement to the family. In the meantime Glen and his sweetie enlist the aid of a rickety old flivver lo make the visit to the relatives. They have a tough time keeping the old car together and to further add to their difficulties, decide to adopt an orphan baby on the way home.

Harvey and Janet Stevens are living the perfect life in the perfect house or so it seems. Janet has been secretly having an affair with Harvey's best friend Frank. What they don't know is Harvey may not be as in the dark as they suspect.

On a quiet Saturday, Harvey shares a nightmare about their daughter's death. Then, the phone rings. Based on the story of the same name by Stephen King.

A Short film about a contemporary milliner in NYC.

A sibling rivalry and vampire story unlike one we've ever seen with some unexpected twists.

As the rural diner is visited by a strange man, it's patrons quickly learn something terrible follows him. A horrific monster with unique powers gives chase. Those who cross his path learn you can never out run - "Time."

After escaping a brutal attack, Rafael, a young miner, loses his sense in the forest where he is found by two sisters, Dolores and Teresa.

Encierro de toros

Mockumentary on a German moviemaker and an old vampire film in Southern Brazil.

When a romantic gesture towards a bartender backfires, Lali unexpectedly finds herself offered a pity date by another bartender, Ana. What starts as an awkward encounter turns into a genuine connection as they bond over shared experiences as women of color. As they grow closer, Lali finds herself falling for Ana. But when the conversation takes an unexpected turn, Lali must confront her prejudices towards Ana and... herself.

Buster Keaton gets involved in a series of misunderstandings involving a horse and cart. Eventually he infuriates every cop in the city when he accidentally interrupts a police parade.

A dark romantic comedy about a young couple from London. A decision to walk home one night, rather than taking a taxi, brings out the very different secrets that they have been keeping from one another.

Three guys in the mafia are assigned to make a hit but when they realise whom they have to kill the night comes to a halt.

Artem (40) is stuck in the routine of an unhappy life. He is under constant female pressure in the family and at work. A sudden meeting with a stranger at the crossroad makes him decide to make drastic changes.

An alternative interpretation of the series' start.

Paulette plays in the back yard, in the shade of a tall tree, with her doll, somewhere out in the countryside. Secretly watching other children have fun without her makes her sad. Then suddenly the wooden chair she is sitting on begins to move, and throws her off. She bravely gets on the chair again, which starts to buck like a wild horse, making her very happy. Racing through the countryside, the chair then throws her off, right into the middle of the group of playing children, helping her overcome her shyness.

In this adaptation of a Stephen King short story, Weber’s addiction to poker leads him into deep trouble. Forced to cover his debt to Mr Rudy, he reaches a point of no return.

Through the pattern of this film a ‘Test’ at Lord’s runs like a thread and a broadcast commentary on the match is imposed on the background of cricket as a game, a craft, an interest of a people, a piece of history. The craftsmen are shown who make the ball and the bat–that ‘fourth straight stick’ with which the batsmen defend ‘the other three’. The craftsmen are shown who play the game, from W. G. Grace in the ‘nets’ to D. G. Bradman and Denis Compton in the thread of the ‘Test’. The history of the game is epitomized in the Long Room shots at Lord’s and from there the camera moves to the village green; to the London side- street where the urchins play on a ‘bumping pitch’; to South Africa, and India, where in the ‘blinding light’ there is often ‘an hour to play and the last man in.

Susana Barriga’s documentary, the illusion, begins with violence. A long shot reveals a man standing on a street corner, his features indiscernible in the night. He moves out of the camera’s line of vision, but the filmmaker, persistent, moves with him as the jostling of the camera marks her steps. As we learn moments later, the man in the distance is Susana’s father – and this is the clearest image of him we will have. Suddenly, an angry British man demands that Susana cease filming. Susana protests in heavily accented English, “He is my father!” Glimpses of a man’s torso are followed by blurred images as the camera spins rapidly over surfaces. The image cuts to black. A new male voice asks in carefully spaced out words if Susana would like him to call the police. When she doesn’t respond immediately, he speaks louder, as though volume would compensate for the language difference. She gives her name; she refuses the offer of an ambulance.

Diane has a problem. Prescription pills used to ease the temptation. But like pause buttons worn low, meds no longer suppress the fire inside. Pitch black memories Diane formerly repressed are now drawn into the destructive light. And the clock ticks on a spiral of promiscuities that will immolate her. Desperate for a solution, any solution, Diane consults a psychotherapist.