Loveling

A teacher’s quiet act of kindness in paying a student’s exam fee leaves a lasting impact, inspiring the grown student to search for him years later.

Léa is an old punk, Rémi an old hippie, Tonton a former fairground worker, Kiki a pink-haired Ma' Daltone, and Galak, their poodle. They all live together amidst laughter, drugs and rough love, dividing their time between a cramped Parisian council flat and a chalet in the Alps that’s far too big for them. One day, Kiki has a stroke, plunging her into dependency and forcing her daughter to take charge of her, even though she struggles to look after herself. No More Heroes tells the story of a tribe trying to hold its own in the world.

A boy growing up in Dublin during the 1980s escapes his strained family life by starting a band to impress the mysterious girl he likes.

When an university student is suddenly attacked one rainy night but is able to escape, the attackers turn to seek out her family members.

Nghiêm has taken care of her grandson, Niên for the majority of his thirteen years of life, just as Niên has taken care of Nghiêm, especially when her memory began to fail her. Returning home after his job as a sand digger, Niên discovers Nghiêm is nowhere to be found...again. When his usual searches turn up nothing, he journeys from their rural village to increasingly foreign urban landscapes, guided (and at one point misguided) by the locals he meets along the way and the belief that Nghiêm could appear at any moment, anywhere.

An honest cop named Joshua Marino is transferred to the city of Plainview, New York, where the streets run dirty with crime and corruption. Meanwhile, an aging crime boss pressures his eldest son to carry on his legacy while a washed up detective is hot on his tail.

Luisa and Gabino visit their parents in a mining town in the north of Mexico. Their father’s only interest in them is sparked by Luisa’s actor boyfriend when he acts out the role of a narco kingpin. To cope with family tensions, Gabino imagines a parallel reality of detectives and organized crime.

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The film tells the story Hung, who was loved by his family as a child and lived in the protective arms of his parents. But the more the boy grew up, the more people slandered him about his gender. Pressure from family, and arguments from neighbors and people, the boy decided to run away to fulfill his "dream" of being himself, finding the light on the lottery stage. On stage, Hung becomes a charming and beautiful actress. People call her Hong Hoa, not Hung. She fulfilled her dream: to sing, to be praised, to be admired. But somewhere, deep inside her, there is still a smoldering wound called "family" - an emptiness that can never be filled.

On the morning a soldier leaves for war, he must bring his family together or risk losing them forever.

A couple's life becomes complicated when people get involved with their troublesome son.

An 18-year-old boy named Haewon hates his father for being unfaithful to his mother. In the same apartment block, Ha-young becomes an orphan after her father passed away. One night, they decide to take revenge on the irresponsible adults.

After the passing of his father, Sam Mitchells travels to his childhood home to collect his father's belongings. He is surprised to find his step-brother, Evan Baker, in place of his step-mother, who he expected to be there. In looking through his father's belongings, and talking with Evan, Sam begins to uncover murderous family secrets.

The personal stories lived by the Uncle, the Father and the Son, respectively, form a tragic experience that is drawn along a line in time. This line is comparable to a crease in the pages of the family album, but also to a crack in the walls of the paternal house. It resembles the open wound created when drilling into a mountain, but also a scar in the collective imaginary of a society, where the idea of salvation finds its tragic destiny in the political struggle. What is at the end of that line? Will old war songs be enough to circumvent that destiny?

Freemont Gordon isn't passionate about his successful job as an architect in Los Angeles. After turning 30, he finds his job isn't enough, so he quits and takes a road trip—and along the way meets some amazing and generous people. Freemont shows his thanks for their hospitality by building secret tree houses for the families in the hope of giving their kids fun places to play. Ultimately, he finds that doing what he loves—is what matters most.

Since the death of their father, the Riley siblings have kept their heads above water by illegally dealing in painkillers. Josie is managing the business with an iron fist, when her brother, War veteran Kip, is concerned that the risky business is increasingly turning them into outsiders in their small community. While Kip wants to keep his younger brother out of their illegal endeavors, his younger brother is already making plans of his own.

In 1973, when Frank Bledsoe and his 18-year-old niece Beth take a road trip from Manhattan to Creekville, South Carolina for the family patriarch's funeral, they're unexpectedly joined by Frank's lover Walid.

Bounced from her job, Erin Grant needs money if she's to have any chance of winning back custody of her child. But, eventually, she must confront the naked truth: to take on the system, she'll have to take it all off. Erin strips to conquer, but she faces unintended circumstances when a hound dog of a Congressman zeroes in on her and sharpens the shady tools at his fingertips, including blackmail and murder.

Thangapandi stays with his grandfather after the birth of his stepbrother Sellasamy. He is jealous of him and leaves his mother after an unexpected incident leaves him feeling unwanted.

A storm is coming; the winds are getting strong. The real source of the ominous winds lies with Jina, who finds the strange word 'LingLing' written in her father’s notebook. She suspects he is cheating on her mother, who appears to be bored with life and fills the house with potted plants as if to show for her apathy. The film too is riddled with images of humid air and foul-smelling water, impure and overflowing. The sway of her father’s fishing pole and the flutters in Jina’s skirt seem perilous and unstable. When her anxiety and doubts finally come to a head, the family squarely face the rough downpour brought on by the storm. The director’s talent in boldly translating the characters desires and sensibilities into a narrative with powerful imagery is quite impressive.