No Name The Fastest Knitter In The West

In the middle of the night Lea knocks on the door of her brother's flat. Elie, disturbed, wonders what made his sister travel all the way from Lebanon to Belgium. Only in a phone conversation will he learn that his sister is pregnant, and the father of the child is Muslim. Their Christian family refuses to accept this "disgrace", demanding that Elie restore the family honor.

Director’s brother, Mustapha, disappeared for almost one year. He cut any contact with us, his family that lived then in fear and distress. One evening, after his long absence, the mother received a phone call. He had settled down in the Madrasa Nahlia, a Koranic school of religious teaching in the mountains, 90 km from Marrakech. Through a monologue in the form of a letter, the director dialogues with his brother, remembering their childhood and observing the simplicity, austerity and serenity of the madrasa.

Late at night long after the last bus has passed, Kyung-sik and Joo-won, are waiting at the bus stop after drinking. Kyung-sik, in a good mood, tries to convince Joo-won to take him home, but Joo-won's expression is still contemplating.

In a quiet Moldavian village, a cat witnesses how the inhabitants are uprooted and the village’s life takes a dramatic turn over night.

As Bolivia stages the 50th anniversary of Ernesto "Che" Guevara’s death, Julia, an old countryside teacher is invited to share her historical story with the world: Giving a bowl of soup to the captured guerrilla in her classroom, while he recited a poem about flowers to her a few hours before his death. The invitation is withdrawn soon after, as other women step forward claiming the story of “the soup and the flower” as their own.

A new father could not be more happy about the birth of his first son...until he learns that the baby is not biologically his. In spite of everything, he raises the child as his own.

Cows With No Name is almost a diary, filmed one day at a time, of each stage of this process, documenting the operation of the farm with critical and incisive humour. But it is also an intimate documentary. By filming scenes of daily life on the family farm, around the kitchen table during meals, or in front of the TV in the evening while everyone falls asleep on the sofa, more personal questions are raised: the farmer’s connection to his herd, or even the handover that Hubert has chosen not to ensure.

The action of the picture develops in the troubled 20s of the last century, in the taiga Siberian outback. On the periphery of historical events, the heroes of the film argue about faith. All of them will have to go through trials and find out if their faith is strong or is it just a mask under which they hide their weaknesses? Everyone answers this question in their own way. What are the words of the film characters and beliefs in the face of death? The events of one day and one night divide the life of the heroes into “before” and “after”.

This is about a father and his daughter who has been injured from the mines from Iran-Iraq war.

A woman very dedicated to God has a daughter, which forces her to pray at all times, but she does not think like her mother, and has another way to do it. She worships the devil and is owned by him!

Set on a modern kibbutz, as the spectre of an Arab invasion lurks in the backgroun,d and financial pressures are breaking down traditional communal values, a series of fragile, interwoven stories mirror this disintegration of collective ideal.

The film showcases the opening of the Dnepr water-power plant.

Names of Revolution recalls the memories of those who participated in the struggle to rewrite the history of the “Busan-Masan Democratic Protests,” which has been under-represented in modern Korean history. As the then college students, seamstresses, mold technicians, combat police, workers, bus drivers, advertising planners, and photojournalists pour out their memories from over 40 years ago before the camera, vivid words come to life.

Religiously themed early Soviet propaganda film in Azerbaijan against Islam. Unlike earlier propaganda films in the region, this was actually made by an (nearly) all Azeri cast and crew and directed by an Azeri filmmaker that would go on to be famous amongst his own people, despite his early collusion with the new ruling government. At the center of the film is a greed Molla (holy man in Azeri Islam) who has been cheating one of the local peasants for years out of all types of goods and services, and then delighting over his success in an very un-religious, specifically un-Islamic, way. Once the Revolution takes place and the Bolsheviks arrive, the peasant is empowered and realizes the deception on the part of the Molla and takes him to the newly set up "People's Court," where is finds justice and the Molla is punished.

In this dark love triangle that proceeds with the inexorable logic of a Greek tragedy, a dedicated wife in a small Vietnamese fishing village secretly turns to another man when her husband is unable to give her the child they both crave — but the surrogate father's crazed jealousy will have fateful consequences. (TIFF)

The film is about the public prosecutor who fought against the criminality but was killed by them.

Hamed leaves his hometown and goes to Cairo to work as a gatekeeper in a building. He marries Fathia, who comes to live with him in Cairo. Fathia gradually learns to read and write and she aspires to work in a good job while Alaa who lives in the building tries to woo her.

17-year-old Sheng is fascinated by photography. He not only takes photos but makes his own films. In fact, Sheng has been bullied by his schoolmates.

Cinematic memorial, designed to echo the names and memories of the underage victims of forced disappearance during the military dictatorship.