Am I Being Unreasonable

On the hotel bed, I showed my mom’s dinner banquet video to my boyfriend. We said nothing and kissed in the end, with our entwining shadows echoing my mother’s video images. My boyfriend left home without saying goodbye. I couldn’t find him. Neither did I find my mother after I returned home. She drunkenly hid herself in a storage room and sat on a chair with her head embedded in a hair dryer, like an astronaut’s helmet. I collapsed onto the doorstep when my mobile phone rang. My boyfriend told me he had left a recording on my phone filled with his love for me. The blue light in the storage room resembled a space in the universe, where love wandered in it, between me and him and between me and her. The next day, my mother and I drove to the beach. My mother might have already known my sexual orientation for a long time but never talked about it. Instead, she told me about the boy who fell in love with her in college. Suddenly, she disappeared while the sun was creeping down.

The members of SMAP play former high school classmates who were members of the Ekiden team 6 years ago. This drama depicts the changes in character over the past 6 years and the members future endeavors.

This tape is about a girl who seeks to free herself, the triangles represent Nazism The visual video tries to give another vision of reality from the purest freedom.

Noor and his younger brother go to the beach in hopes of finding the sea creature who killed their mother.

Piggyjon details his ongoing feud with Crinklefry.

Because of who I am tells the story of Nils and Benjamin, two filmmakers from Berlin and former lovers, on a journey through a divided world. While half the world is leaping forward, and is even including LGBT rights in their foreign policies, many countries are fighting whenever possible against the very existence of gay women and men. The filmmakers present snapshots of queer realities through an artistic perspective, raising the question to what extent art can be an advocate for change and, ultimately, freedom.

The sixth short opener for the Annecy Festival, produced in collaboration with our African partners "The Animation School" and "Tshimologong Precinct."

Ruslan Belyy's new stand-up show about leading podcasts, complaint against him to prosecutor's office, obscenities and Manizha'song, Morgenstern and fact that we are all sometimes a little ministers of culture of Republic of Crimea.

In the dark of night, an unlucky man appears to be followed by a Mariachi band and a woman in a car.

The practice of female genital mutilation (FGM) is still widespread in parts of Africa despite innumerable concerns about and objections to it. Taking an exhaustive look into FGM, this film hopes to impart greater awareness about a practice that is often excused as being merely a part of “culture.”

Lorenza Mazzetti's extraordinary life story touches many points in twentieth century history. The adopted daughter of the Einstein family emigrated to London in the 1950s and applied to the Slade School of Fine Art with the reason "Because I'm a genius!" Mazzetti is also one of the most important representatives of the Free Cinema movement.

“Since 2011, as an author and in a frantic and committed fashion, I record music and dance expressions of various kinds all over the country. From a great conversation with film director Inês Oliveira, who followed my work for a while, I raise fundamental questions in this film: Why do I do what I do? What is this all about? What are the relationships with the people? What differentiates me from scientific work? What is tradition?” — Tiago Pereira.

Soy un ser cuyas raíces // I am a being whose roots reworks Jacques Madvo’s Countries & People: Venezuela to explore labour and migration. Taking the final words of the film’s voice-over as a starting point, Soy un ser cuyas raíces // I am a being whose roots pairs Madvo’s film footage with a text-based conversation with young Venezuelan literature scholar and language teacher Angel Said Dominguez Pinto. Dominguez Pinto relocated to Panama in 2014 to make a living teaching English, Spanish and German in Panama City after Venezuela’s economic collapse. Over e-mail, we co-authored a conversational text, exploring migration, labour, exile, and hemispheric relationships.

Every year the girl spends three summer months at the dacha with her grandmother. A story about their relationship and the beauty of a child's view of the world.

A woman moves back and forth between two men and two cities.

In this vivid pastiche of images, music and text, Santos addresses technology and image-making in the context of cultural formation. Writes Santos: "Technology is explored in terms of information speed — a feature that makes popular absorption and understanding all the harder. Metaphorically, this process is akin to obtaining information through the ultra-condensation of mere legends and subtitles. Though this may occur in developed countries, such a process displays and unleashes its greatest vigor in a culture such as Brazil's. I Cannot Go to Africa Because I Am on Duty indirectly touches upon values: instead of being concerned with the information-absorption process and with the likelihood of controlling the image-producing process, we are hellbent on running a race, whose sole goal is to employ the latest technological innovation in terms of image production."