There

With his gang-banging brother under house-arrest in their parent’s home, a straight laced law student, struggling to study for his bar exam, is tasked with keeping his older brother out of trouble before the biggest court date of his life.

The film shows in detail how Icelandic rivers are cultivated, with particular emphasis on maintaining fish stock. There are scenes from a salmon hatchery, the release of the young salmon, the catch of adult fish for egg collection and the salmon ladders. The second half of the film shows fishing in two of Iceland's finest rivers. There are many underwater shots which include the salmon taking the bait and its fight for survival.

And Everyone was There is an investigation into the surreality of dreams and the capricious nature of memory.

A father grieves for his deceased daughter and meets an old friend of hers.

The story is about a Fly and about his way of finding and accepting his childhood trauma. The cake gets an appointment with a psychotherapist. Together they penetrate into Mykh's head and find there the event that traumatized him, from where the main character pulls out a little himself.

“A monument married a catastrophe and then died, and now catastrophe is left alone, she gets drunk and grins, she is not going anywhere.” The film opens with close-ups of the city landscape, surfaces of buildings, blurry light reflections in the puddles, fragments of Kyiv’s monuments. The split screen confronts statements of pedestrians and friends about the life of city memorials with a performative intervention of the artist climbing on the monuments. Memory is animated but also dismembered by an obsessive desire to inhabit and reappropriate the stony bodies of historical figures.

Hannah walks through the city, observing people and objects, searching for something, looking at delicious pastries. She is on her way to an appointment with a tarot reader and inside and house space unfolds like the walls of a dream, only to reveal a pair of rummaging thieves. Alone, Hannah is entering a mystery and the clues are sparse and uncertain. She floats like a jellyfish, but perhaps there is no such thing.

A story of drug addiction, Māori wahine, and the power of recovery.

A young girl (Revyn Lowe) gets in big trouble for kissing her friend (C. Craig Patterson) on the cheek at school during the COVID-19 pandemic.

In a haunted house, whatever hour you woke there was a door shutting. The search for an exit continues.

Who passes us from Dalyan town to the Kaunos Tombs and Çandır village located on both sides of the canal which joins the Aegean Sea are the rowing women. Homes and boats for these women, who have been making a living from rowing for many years, have become an extension of each other; and the relationships they established in these places and with these places have been intertwined. 'There and back' follows the daily lives of the rowing women whose lives are organized away from the patterns of the urban theories.

‘(k)now (t)here’ is a film diary about series of journeys of summer 2009 that was simply to be ‘on the road’. No certain destinations, moving with one-way-tickets, being surrounded by strangers… Continuous packing and unpacking, almost daily check in and out even in the same town to taste different flavors of it… Throbs of excitement and anxiety and unusually wide-open perception in consequence of putting myself in every possible mysterious moment… My anonymity allowed me to immerse myself within the subtle sounds and lights, so often passed by as to fade into nonexistence, that amplified and grew conspicuous in total silence/darkness.

Renowned newsman Walter Cronkite's stentorian pronouncement "You are there" -- an armchair witness to history's greatest moments -- greeted viewers of this popular television series that aired from 1953-1957. Hosted by the likes of Charles Collingwood and Mike Wallace, the show investigated key historical events as though they were breaking news. This chapter spotlights the Boston Massacre and the Boston Tea Party.

This is a short story about a primary school cinema theater in a small village.

Lena Ditte Nissen has created a series of experimental short works on analogue film, which in a personal and often elliptical and dreamy language channels a subjective view on the world through the unexpected connections that arise between image and sound. Her most recent work is a portrait, and a new variation on her method. Before the camera, we encounter the formidable 87 year-old artist Margaret Raspé who works in photography, film, drawing and other art forms. Regardless of the medium, automatisms play a significant role in her art. Nissen transcends the traditional limits of the portrait genre and has created a congenial and loving tribute to a unique creative mind.

A womanizing aristocrat is forced to disguise himself as a woman to save the family's inheritance.

The story of a lesbian couple's move away from Israel and the problems they wish to leave behind. Joelle lived in Tel-Aviv for eleven years but tired of a city wrapped in violence. Sigal, hiding her true sexual identity from her family, needed to distance herself to be able to have a more complete life with her partner. Together they travel through Greece in search of a new home.The couple record each other throughout their travels, producing a video diary, each expressing her feelings as she observes the other. Their unfurling journey pushes them to question the very heart of their search, including essential dilemmas such as: “Where do I belong?” “What is home?” and “How can we be part of our families when we are different from them?”

Short movie, from the official selection of the 2005 Cannes festival.

On the 30th anniversary of the fall of the Berlin Wall, a 70-kilometre long fence was erected on the border between Germany and Denmark. The fence was intended to secure Danish pigs against African swine flu but ended up splitting apart Southern Jutland and German families and farmers, who have land, friends and family on both sides of the fence. The fence ended up having a destructive significance for an identity that otherwise knows no boundaries. Through archive footage and touching portraits, we are shown a warm and, at times, tragicomic look at a new everyday life for both Danes and Germans, where old friends have to meet on either side of the fence. And all of this on the 100th anniversary of the reunification of Southern Jutland – and the year corona hits.