애

Film professor Michael falls in love with one of his students and is confronted with his pupil's father, with whom he had an affair over 15 years ago. This unexpected meeting abruptly overturns the lives of all the characters. When the tutor decides to undertake a planned trip to London, not with the son but with the father, he is once again forced to choose; this time between his wife and his friend.

Life is made of repeatable stories, accounts and questions. Birth and death, joy and sickness, youth and old age. In ‘Clinging’ Liat Glick focuses the camera on herself to tell a tender story about a trio made of a mature 47-year-old daughter without a partner or children, her mother and Natasha’s beloved aging dog. This subtle cinema, which applies semi-documentary means, focuses on the woman, her concerns and feelings. It is endearing with its authenticity and fairness revealing the most delicate sphere of the protagonist’s life. It remains close to a human without falling into any radicalism.

Yat-tong (Bolin Chen) has got a new flat mate named Leslie (Gigi Leung). Unfortunately Leslie soon gets divorced by her husband and is deeply immersed in sorrow. With Yat-tong's company, she breaks away from the sad history and starts her new life. They get along so well that obviously they are turning to be something more than friends, at least everyone around expects that would happen sooner or later. Maybe just a matter of time. However, they have a large barrier. Leslie's ex-husband is the elder brother of Yat-tong. That means, they are indeed ex-in-laws. Truly, this is not just a matter of time then.

An enormous Steinway & Sons piano dominates a cramped and untidy apartment in Buenos Aires, belonging to the 91-year-old twin sisters Isabel and Amelia Cavallini. Once they formed a celebrated piano duo with a blossoming career in the United States. Just as the instrument is actually a little too big for their modest residence, the sisters’ personalities no longer seem to fit their now fragile bodies. In this final part of her trilogy on old age and art (preceded by Las cinéphilas and Le temps perdu), María Alvarez follows these elderly ladies as they shuffle along the path of their memories, which surround them in every corner of their house.

On the 16th April 2014 South Korea was changed as a nation. After the days, weeks and months that followed the Sewol tragedy, the country became undone, untrusting and more divided than we have ever seen in its history. "After the Sewol" explores the changing faces of this nation through the eyes of two British film makers. They talk with relatives of the victims, rescue divers and activists about their struggles and battles since this tragic accident happened and embark upon a journey to uncover how this accident came about, looking deep into Korean history about why no action was taken to prevent it in the first place. This journey takes them all over Korea, meeting an older generation struggling to create a safer place for their children to live in and a young vibrant generation fighting for a corrupt free society.But, all of them searching for one thing, the truth about why the Sewol victims died.

Two women meet as waitresses and tentatively become friends. They are both from the Levant and living in exile in France. A film about the Silk Road, about exploitation – then and now – and about female solidarity, friendship and solace.

It's the most mythic of all American emporiums - and the scene of many an ultimate fashion fantasy. Now audiences get a rarified chance to peek behind the backroom doors and into the reality of the fascinating inner workings and fabulous untold stories from Bergdorf Goodman's iconic history in Scatter My Ashes at Bergdorf's.

Experimental short.