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floating images, abstractions, memories. silhouettes of a life lived in Jawaharlal Nehru University

The why is an experiential meditation on death, on loves lost, the duality of mind, and ultimately the nature of attachment and memory turned obsession.

In a rural Australian town, a sick Mother fears unspeakable evil will soon snatch her 11 year old daughter, Violett. As bizarre visions and disturbing characters from the neighborhood emerge, Sonya is about to discover more than just one grisly truth.

An attempt to explore a deconstructed subconscious through altered visions.

Social media corrupts the mind of a young University student--but can he escape the psychological torment of alienation?

A grief-stricken ex-boxer is pulled back into East Tennessee’s underground fight scene when his younger brother is brutalized by a former rival with blood ties to his past.

Taking place in the same apartment complex, three individual stories explore the perspectives of three different stages of life. A young college girl who has just moved into the complex, a couple balancing life together, and an older woman whose son is helping her move out of the complex after the death of her husband.

The very first film in which Maya Yonesho tried to show her thoughts. Even just circles may be able to show emotions as a person in animation. The main circle (character) is slightly pinker than the other grey circles (people) and she thought she was very special. But she is very grey in a colourful world. She will find out that grey is not just a boring colour.

Frankie and Lucky, two young artists navigating love and identity in New York City, cross paths again after years of separation. Their reunion in a bookstore triggers a flood of memories, reopening wounds from their past relationship. As Frankie revisits the apartment they once shared, she reflects on their tumultuous past—Lucky's struggle with trust, Frankie's desire for autonomy, and the emotional weight of unspoken truths.

An estranged grandson and his grieving grandfather reconnect through an unfinished bucket list, healing old wounds and rebuilding their bond.

A bar joke goes awry, unraveling into a surreal tale that explores the acceptance of self, others, and queer identity.

Nosmélie

Fogo Corredor

Sophie, only 11, turns a day of mourning into a journey of discovery and connection. At her mother’s funeral, Sophie’s imaginative spirit leads her away from traditional grief rituals and toward an impromptu birthday celebration for a new friend who is also riddled with his own grief. Glitter, toy guns and fleeting friendships collide creating strange, messy beauty of connection. Sophie’s actions challenge the adults’ somber norms and tell a story of resilience, showcasing how children’s innocent play can transform pain into healing and forge unexpected friendships and meaning.

Lydia Lunch and Richard Kern's first collaborative effort, The Right Side of My Brain, is a glimpse into the world of unsatiable female lust, narrated by Lydia Lunch. The film was initially dismissed and dismayed by critics such as J. Hoberman, but the criticism of The Right Side of My Brain received only pushed the two to go one step further with Fingered (1986).

Mad with grief after the death of his Kiowa wife, Roe awaits death under a tree with her body beside him. She begins to haunt him because he won't bury her. His father, who bought him the wife, thinks her sister might reason with Roe.

The Water Station is a film adaptation by playwright, director, and NYU Abu Dhabi professor Abhishek Majumdar of a play by Japanese playwright Ōta Shōgo, written in 1981. It is about our experience of the world and how it is shaped by what we have to leave behind, who we can leave with, and what happens when we meet others in our journeys.

L'Image de la culture

An intense look at the lives of the strong-willed daughters of the Weston family, whose paths have diverged until a family crisis brings them back to the Midwest house they grew up in, and to the dysfunctional mother who raised them.

Starting with a piece of vintage porn, filmmaker Naomi Uman painstakingly removed each female figure from the footage using nail polish remover, leaving a striking absence where there's usually a fleshy presence. Uman's celebrated film is a smart retort to pornography's obsessive gaze at the female body.