To Be or Not to Be: Klingons and Shakespeare

14-year-old Lek works in his mother's shop. While his best friend flirts with a new girlfriend, Lek has decidedly different fantasies.

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.

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.

Encierro de toros

A common day in Stockholm some people face major changes. The owner of a fur shop meets an animal rights activist. A priest has restrictions on Saint Lucy's Day. An old woman evicts and a young man disappoints his father.

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.

At a closed facility for young people a strong friendship grows between Olga and Felicia.

When the fifteen year old Bram meets Florian at a house party, he immediately falls for him. There's only one problem: nobody knows Bram is gay.

After the loss of a woman's baby during pregnancy, the strange arrival of a hand-drawn bird opens the mind of this young artist for a new start.

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.

A solitary man struggles to cultivate beauty in a desolate urban world. Lonely and dislocated, he drifts in and out of a dream state envisioning the promise of regeneration. ROSEWATER tells a story of hope sustained through perseverance, ritual and, ultimately, revelation.

Damian, a young boy raised by a single mother, believes that his father is a famous footballer playing for Glasgow Celtic F.C. His dream is to visit him. In his everyday life he has difficulty finding a common language with his mother who is trying to make a new life for herself with a younger man.

Inspired by the scriptural tale. Moabitess priestess Ruth is drawn both to a Judean man and to his talk of a forgiving God. After tragedy strikes, she begins a new life in Bethlehem.

An aging King invites disaster, when he abdicates to his corrupt, toadying daughters, and rejects his loving and honest one.

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.

Mrs. Thurston, a socially ambitious widow, is holding one of her famous Bohemian parties. To these functions are invited the leading lights of the several professions, actors, artists, musicians, etc. Surrounded by these men and women of art and letters, she was at first entertained, but they soon palled and bored. On this evening in particular, she is especially possessed of ennui, until the appearance of Raymond Hartley, a wealthy young bachelor, who is introduced into the circle by a newspaper man. An attachment immediately springs up between the widow and Raymond.

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.

A woman finally gets the job she's been waiting for, but a sweet offer never comes without a bitter aftertaste.