Film The Wee

In a public mall bathroom, Lilly, François, and their 6-year-old daughter bid farefell to an unborn family member.

Weekday Night (Soir de semaine) in an animated slumber party made up of drawn observations evoking feelings of exaltation, humor and intimacy inherent to those nights.

The pregnant Marie is driving a luxury sedan through a country lane. She’s excited about marrying into a rich family and is on her way to meet her parents-in-law. But thanks to a hick constable, Marie comes to a dead end, and a strange car pulls up behind her.

When a weekend at Selmsey's farm turns deadly, they must fight to survive against a wild creature - far away from its home.

Weeping Boy is a Family-Romantic movie, In which Sreenivasan plays the lead. who potrays the role of a veterinary doctor, who is very much emotional for silly reasons. The theme of Weeping Boy is centered upon a person who keeps special characteristics.The movie focus on the in and out life of Sahadevan which is being picturised in a hilarious way which can tickle your funny bones.

A middle-aged businessman is left by his wife, who was dissatisfied with their marital routine. For the first time, he is left alone and without obligations. He meets a young gypsy girl, a singer in a pub orchestra, and begins to wander the city with her, discovering a completely different world.

A wife and a husband who got married for 3 years, come to the lodge for a weekend trip.​

A Hibari Misora musical about an impoverished girl and her brother in Postwar Japan.

Week 23 follows the battle of Rahel, the daughter of Swiss Bishop, through a high-risk identical twin pregnancy. At the 6th month of the pregnancy, Rahel was informed that one of the fetuses lost pulse and is lying dead alongside to his living twin brother. Due to the high risk for physical disability & brain damage for the surviving fetus, all doctors, without exception, recommended the termination of Rahel's pregnancy; In other words- killing the living fetus.

The film follows seven days of a young gypsy, with a short excerpt from each day. Through these brief 'life' images, the film gives a dark and fragmented portrait of Kristóf, similar in style to Hungarian fiction documentaries of the 1970s and 1980s. A life at a standstill with no possibility of change is documented in the figure of the protagonist: Kristóf has neither the social background nor the education to turn his fate around.

David spends his vacation with Pamela, his cousin. In the middle of a heatwave, Javier comes to break with their boredom. Later on, David develops a desire towards Javier, which leads him to use his personal items. As the heatwave intensifies, so does his desire.

Times and destinies intersect at an iconic vintage store. The film is a philosophical observation.

A depiction of the life and fate of a physically weak woman who has strong maternal love.

Wochende (Weekend) is a film initially commissioned by the Berlin Radio Hour. Prior to Weekend, Ruttmann had made numerous celebrated avant-garde films, namely Opus I-IV, and the spectacular Berlin: Symphony of a City (1927). The advent of sound films dawned, and, interested in how spectators perceive sound, he premiered a film without pictures. On June 13th, 1930, the audience took their seats, the lights went down, and the sound of the film was heard. But the screen was completely blank.

A rebellious and carefree young woman sees her life changed by a traffic accident. Soon, she will embark on a road trip with a child whom she will try to help find her mother.

A short film featuring a teenager raging after realizing that school is next week.

This film is a combination of genres (docu-fiction, comedy-musical, mockumentary and drama-ponele) endowed with grace. It is a culebronizado backstage of the rehearsals of the musical Ella, homage to Rafaella Carrá, where Christopher Guest entrenches a group of dancers and choreographers, following them closely in their problems of love and of makeup. It shows situations of contagious pop vitality, and music and dance set the stage for a shocking ending, which kindly suggests rethinking various representation problems: Schipani and Montiel seem to have known in advance that it is dangerous to always tell the truth

The story of legacy, literature and human behavior out of society. It's all about things we want live for and things we can die for.