Doncho & Ahtopol

A teenage skateboarder becomes suspected of being connected with a security guard who suffered a brutal death in a skate park called "Paranoid Park".

The line between isolation and creativity begins to blur for a group of teenagers. Some are free, some are not; but all have moments of passion and beauty.

An experimental film that explores the minds of a teenage couple experiencing an unintended pregnancy and their struggles with social pressure, discrimination, and abuse.

A lucid dream turned nightmarish reality. A ship sinking into a world of fear. A short film that’s mostly puppetry by one of America's most prolific twentieth century artists.

Previously lost exploitation film which chronicles the sexual journey of a teenager who introduces her own family to the liberated ways of the free love rebellion.

A wildlife volunteer on an uninhabited island off the British coast descends into a terrifying madness that challenges her grip on reality and pushes her into a living nightmare.

Pasamontaña Quemado

A young drug dealer stumbles upon a doppelganger online celebrity who tortures and murders people on camera. As his mania grows and the line between reality and fiction is blurred, a second identity grows from his second life in his dreams, and something of a prophecy is revealed.

Welcome Home.

Two gay men in Japan discuss the end of their respective relationships.

As Belas Cores do Nascer do Sol

An experimental coming-of-age odyssey through someone's troubled mind, going from country to country, landscape to landscape, growing up in the process. A documentary, travelogue, vlog, dream and self-portrait. A reflection on life, death and history.

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

In a last-ditch effort to save earth, a man sacrifices himself and is forced to relive a series of suppressed memories that become smeared by the detonation of a stellar bomb. This paranormal explosion of thoughts begin to blur the lines between reality and fiction; the only way out is forward.

"Fag End" is an astute representation of the metaphorical death of a mother. The movie revolves around a girl named 'Tania', a victim of smoking and alcohol abuse, going through the process of In vitro fertilization. When it comes to alcohol and smoking, an abuser is overlapped with the tendencies of both alcoholism and chain smoking wherein one is subjected to intense cravings, followed by untoward mental as well as physical detention. Things go downhill one morning, as she relapsed the night before and she suffers a miscarriage. Does it not leave us with the raucous screams of the unborn?

A neurodivergent man is stuck in the web of an abusive relationship, unable to free himself from his lovers grasp.

Seele orders an all-out attack on NERV, aiming to destroy the Evas before Gendo can trigger Third Impact and Instrumentality under his control.

De Quanta Terra Precisa Um Homem?

Amidst a period of unprecedented world events, an eighteen-year-old girl’s life is placed on hold. Isolated in her bedroom, she falls under the spell of the mysterious vlogger Patricia Coma. As time carries on, the lines between her dreams, fears, hopes, and reality begin to blur into one another.

“Poussières de Juillet”, produced in 1967 by Hachemi El-Chérif, is taken from a poem by Kateb Yacine. "We made a film on the return of the ashes of Emir Abdelkader, to Algeria. It was the opportunity to make a film on the ancestors with M'hamed Issiakhem. He designed glass plates on the basis of my texts. Then we had actors collaborate. It was a film which cost us a total of 300 dinars, proof that we could do work for television without too much money. We won two first international prizes at the Belgrade festival. We left the original of the film with the Egyptians in Alexandria and they lost it. We kept a copy but over time I wonder what happened to it, because there is no not even had a screening, they say it still exists, but I don't know in what state." Kateb Yacine, July 28, 1986, interview with Arlette Casas.