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With expressive and based on the repeatability of shots structured film dynamically visualizes personal emotions and subconscious desires of the artist. He experiences his microenvironment obsessively focusing on ordinary objects whose existence is lost in the created situation it his rationality. The fascination of things is here reduced to the level of uncontrollable physical attraction, which seems to expose the emptiness that filled tempting material goods. She puts in the spotlight but also your body. It is not only a tool of expression, the link between reality and imagination, but an entity interacting with the material reality, both purely physical - negotiating the boundaries between her and the outside world - as well as ideological. Tyszkiewicz examined here because the area of gender performativity and cultural sphere of subjects affecting the perception of female sexuality.

Giuseppe is an old fisherman. He spends every single day of his lonely life at sea. Nothing ever changes or will ever change. His granddaughter Sofia comes to visit just for a few days. And after their short life together he returns back to the only thing he knows.

The film tells about the time in which the characters of the movie "Leto" lived. Performer of the role of "Skeptic" Alexandr Kuznetsov interviews Natalya Naumenko, Artemy Troitsky, Igor Petrovsky, Seva Novgorodtsev and Andrey Tropillo about Russian rock, the 80s, Soviet youth, the Leningrad way of life and the spirit of that time. The conversations take place in the real locations of the movie "Leto", where the characters come to tell how everything was in reality, and plunge into nostalgia and praise or, on the contrary, criticize "artistic fiction".

Camera turns on, the film runs and the wind occurs. A work that follows the wind, chases the image, and goes far to the image of Africa. A movie that talks about the fact that the wind carries words. The music was borrowed from an African folk music album.

Film about falling in love across a political, cultural and geographic divide. It tells of Simon, a Dutch communist student in Moscow, who meets and marries the Russian Zoya in the spring of 1968. Simon returns to the Netherlands, expecting his wife to follow shortly afterwards when her exit visa is granted. Her application however is refused over and over again. Months pass and then years. A child is born to Zoya in Moscow: director Aliona van der Horst relates her parents' struggle in this tender account of family history caught up in international politics. In the numerous love-letters he wrote to his beloved Zoya feelings of helplessness are expressed: 'Our happiness depends on how the political wind blows'. Van der Horst uses these letters as a guideline through the film. To tell her parents' story, Van der Horst weaves together archival footage, home movies and photographs with contemporary interviews.

When Andrés knows the diagnosis of Norma's terminal illness, his mother urges him the need to hold on to his camera, record his family environment and rescue childhood memories that show fragments of a young, cheerful, uninhibited and vital mother. After Norma is a catharsis against family history that reflects on the relationship with our parents and is a metaphor for change and absence. A movie about a family that could be yours.

For three children, the nicest toys and tastiest food awaits them at their home after a long day. But as they further indulge in euphoria, everything turns out differently as what we are seeing.

Fedia – man living in little yellow house next to Gariūnai marketplace. To him life seems simple, completely transparent and without any hidden truths.

After a divorce, a voice actress Eunkyeong raises her son alone who's unkind to her. It makes her sad but she does not show it. Past and present calmly cross over as they try to embrace each other's pain.

Dialoguing directly with the trilogy of documentaries “Images of the Unconscious”, made between 1983 and 1986 and based on clinical cases and therapies with a humanist approach and artistic expression, conducted by the pioneering psychiatrist Nise da Silveira (1905-1999) – screenwriter of that film –, here is presented, in two parts, an interview with the doctor, a student of Carl Jung and a pioneer in the application of non-violent treatments for psychiatric patients, given to director Leon Hirszman, in 1986. The conversation is divided in two parts: the first, "The emotion of dealing", the second, "The egress".

Short Drama

Combines three short films: Richard, The Blanket of Life, Elementary Editing Theory

Vera is an engineer and a young divorcée. She is pretty, lonely, and has a boyfriend, Tamás, whom she is dating secretly on a certain day of the week at the week-end house of one of their friends, as Tamás has a family and does not intend to divorce his wife. Vera would like their relationship to be publicly acknowledged.

SHUICHI INOHANA FILM WORK １９９０

The film After Midnight narrates Lucas and Gabriel's love relationship. Using sequential plans, color psychodynamics and improvisation by the actors, he compares the love idealized in fairy tales to the stages of a real relationship.

The violent actions of the authorities did not stop the protests. The film "War" by Daria Demur, Ekaterina Ignashevich, Daria Gerasimenko and Maksia Pakhomov is about the street confrontation between demonstrators and the police.

A half-moon on the blue sky. A quiet offering connects the unreachable world with the physical ground. An elegy for the filmmaker's grandma.

In the year when cinema was paralyzed in Portugal due to lack of funding, a group of friends embarks on a mysterious expedition to see wolves in their natural habitat, but ends up being trapped in a house without much to do. The night goes by and the expedition’s main goal seems increasingly compromised until the biologist who promised them adventures shows up.

“What future are we in?” Asks one of the leading girls in the short film by María Alché, a memorable actress in the role of a holy girl in the film of the same name by Lucrecia Martel.