House Of The Dragon Streaming Vf Ep

Sohrab returns to Iran after years abroad. Despite all the psychological pressures of his homecoming, he stays in a house in which he finds a young girl living in the shadows. After the death of her father and a failed romance, the girl (Arghavan) now lives with her mother. She has contracted a disease, which can only be cured by darkness and silence. When Sohrab sees her, she tries to bring her back to life. He sets out to film the daily lives of people but only in activities that inspire hope. It proves to be a difficult mission. Each filmed person faces the camera and asks her to come into the light, but Arghavan remains mired in her pain. She asks Sohrab to go film her hometown in western Iran where she last saw her father. There, he confides in her, facing the camera as he makes a confession.

Aymas, the 55-year-old protagonist of the film, has seen a lot in his life. A lawyer from Germany brings along bitter news that Aymas's only daughter has passed away and left her fortune to his father. Aimlessly ,Aymas wanders along the streets of the town which is constantly filled with fog. Fog lies both in the streets and in Aymas's brains. The fog can only be dispelled by wind or a girl named Samal, whom Aymas accidentally meets in the fog. If fact, the word samal means 'wind' in Central Asia. The girl is really like the wind - she's wayward, impulsive and unpredictable. She behaves exactly like she pleases. She scatters foundations. She's in love with another girl and she's very unhappy. To Aymas, Samal reminds of his daughter. For her sake, Aymas delves into a series of adventures with unpredictable consequences. It seems to him that they're getting closer to each other. But how can you can get closer to the wind and lock it into a cage?

Jean Wyllys is one of the MPs of Brazil's National Congress. The politician, who is also a journalist and teacher, fights for minorities, as well as being one of the greatest representatives of the LGBTQ+ cause. Now, he exposes a period of three years of his routine in the public sphere, which provokes a reflection on a time of polarization in Brazilian politics.

A story about the impact of social customs and traditions on the behavior of Egyptian society

Edited from video diary footages shot in one day. Divided into two parts, the first part is shot mostly in blue tone, featuring everyday activities of waking up, going to the bathroom, and hanging a mirror. The second part, shot mostly in yellow, depicts compulsive eating, illustrating both the obsession of the body and the desire to escape from it.

A teenage kid breaks his own moral rules, because of self inspiration and the spirit of the team. Afterwards he tries to get rid of this obsessive feeling of compunction and the evidence as well.

When the pandemic broke out, the filmmaker began to document the outside world from her window. A public space, Blue House, was finally realised but made empty for an indefinite time.

In this mystery, a nouveau-riche Frenchman returns to his Parisian home after finding a fortune in Africa. He is looking for a wife and begins advertising in the newspaper. Instead he finds himself victimized by con-artists.

I find myself in the middle of a Portuguese forest. A set of abandoned objects related to the attraction's fairs make me think of a schoolmate who wanted to be a ballet dancer. Bumper Cars and a rabbit I found in the forest sparked memories of the visits I made to the Fairs. Then I became a memories collector in contact with these objects. David, Empar, Manuel and Zé join me in this film.

The only thing keeping Harold's family bound is his unconditional love for them.

He lives alone. He has nothing but a small house at the road. An old man loves to seat at the threshold and smoke a pipe. There are no neighbors for many miles around. Guests at his house are rare occurrence. But once a big black jeep appears near his house...

After many days of pursuit, Jayakrishnan finds a house in a distant land. He bought the house for an affordable price. But the locals bad-mouthed the house and there were many stories doing rounds. Jayakrishnan shares these superstitions with Mohan, his only friend in the area. They mock the beliefs of the natives. But what happened that night was unusual.

A group of filmmakers realizes that their surroundings is way more horrifying than the horror film they're trying to write.

Having left the secrets of a troubled past behind him, Peter has a new life ahead of him. He has a nice girlfriend and a good job working at a green house. But all this is threatened when Peter and his girlfriend meet a strange man at the supermarket and Peter's past slowly comes to light. Peter is forced to decide: should he hide is demons or should he open up and tell his girlfriend the truth?

Gunawan moves his troubled family (including an adulterous wife) into a new Dutch home that comes complete with a hidden treasure and ghosts.

Architecture is not a static but a dynamic, living thing. Similarly film is highly suited to represent and experience architectures as spaces, as stages for human encounter and interaction. In this series of short films architecture becomes animated, even transformed, with social input. Similarly it serves to animate its viewers/occupants -- architecture as stage and actor both. (Good) built projects in Slovenia generally follow a well-thought and focused approach and execution. They are, relatively speaking, of modest size. They are small not in scale nor ambition -- but small as in contained, disciplined, intelligent and specifically responsive. With room for a smile.

A celluloid film based on Hiroyuki Kakudo's paper animation of the same title (1981).

The film tells the story of SAAL, Local Ambulatory Support Service (1974 - 1976), a movement launched after a revolution by a group of architects who responded to the struggle on the street by the poor residents who in the hot summer of 1974 shouted "Housing Yes! Tents ni! ".