A Jou

A mixture of a time travel, a documentary, artistic and performative record of the director's subjective view of the places, people and moments he spent from 2015 to 2018. Filmed on super 8 mm film.

In order to win the hand of a princess, a man must defeat an evil dragon and claim its treasured magic stone. Upon his return, Baghdad has been invaded and he must use the stone to defeat his new enemy.

Short animated film by Tanaami Keiichi.

Lasse Pöysti's directorial debut film. And Helena Plays On (1951) is based on Aino Räsänen's second novel of the same name in the Helena series. When the Winter War breaks out, Arttu (Jussi Jurkka), the son of Helena (Irma Seikkula) and Jari Junkkeri (Erkki Viljos), go to the front. Arttu proposes to his girlfriend Elina (Leena Häkinen), but the world events come in between. When he is not heard of at the end of the war, the relatives begin to believe that Arttu is dead - everybody else but not Helena.

Helena, a beautiful school teacher in a countryside hamlet is just going to marry her childhood friend Erkki, but a day before the wedding her first love Jari arrives to the scene.

Montage of still photos with lighting effects.

You can see the woman sitting still and the landscape in turn. In this film, the character is not the heroine, and is equated with the landscape. As the subject is equated with the existence of a film too, the difference of time each having is presented in this film.

Two orphans who grew up together become friends after a long struggle. But the boy falls in love with another girl leaving his childhood sweetheart shattered.

The film is based on the philosophy that dreams will be fulfilled, presenting Jai as having a fetish for writing a diary, while changing things that go wrong in his life to have a happy ending. He comes across a pretty girl, played by Shazahn Padamsee, who he is intimidated by and cannot build up the courage to tell her his true feelings. Meanwhile, Vijay Vasanth also takes a liking to her and uses a different method to convey his feelings. Whom the girl falls for forms the crux of the story.

A documentary about the making of the final version of "Metropolis" by restoring all material from different sources.

X, a film location scout, spend his time travelling from place to place looking for filming locations, at the same time that he's looking for funding for the film he wrote himself. In the middle of nowhere, as in the nowhere of his life, he stumbles on Y, the woman for whom he has been waiting all his life.

Michel has lived in a psychiatric hospital for many years. Blaise Othnin-Girard is fascinated by this figure outside any canon, including those to which a forced isolation would like to reduce him. Art, love, friendship in Michel's words seem different. "It seems to me that paradise ... is a love that pierces your belly and makes you really happy ... a feeling like an explosion of love in a faraway place. It's a place where you can enjoy, paradise." The director has not seen Michel since the therapeutic apartment in Mâcon in 2001, where he lived before some problems arose. He finds him now at the hospital in a Complex Psychiatry Unit: a closed and silent sector. His words reveal themselves between pain and resistance, humor and lucidity, hinting at a love affair between impeded bodies.

She was an expectant mother, but she endured every hardship these seasoned soldiers experienced. Without her, the Corps of Discovery would have failed. This program re-enacts her journey in her own words. Taken captive as a child during a raid, adopted into the tribe of her captors, and then married off, her adventures have only just begun.

Gaston is a rather simple office clerk. He is about to marry and has just rented a new flat. Life is smiling upon him. But then it turns out that the house is being used as a refuge for Gaston's boss and his girlfriends. Even worse, his two cousins appear to want to help him out of problems that are not really there at all.

While shooting a documentary about a 'Komsomol' class who all went to save a struggling kolkhoz, the filmmakers also shot mud, broken tractors, flooded fields. The film turned scandalous and was not screened, because of it allegedly being anti-Soviet: defamatory of collective farming.