What Will The Future

A troubled young couple are sent to another world where they are met with a mysterious creature known as The What's-Its-Face. It claims that if they don't rebind in their marriage, they will be trapped in this other world forever.

A short web-drama

A short web-drama

During an abortion, 17-year-old Yang gives birth to a live jellyfish in her bathroom.

The psychosexual drama Yoji, What's Wrong With You? examines the identity of women as mothers in Japanese culture, through an Oedipal narrative of a skewed "family romance." When Yoji announces to his mother that he wants her to meet a new girlfriend, the mother's jealousy destroys the relationship. Idemitsu's signature device of using a television monitor within the domestic space works as a powerful metaphor for the ubiquity of the mother in Yoji's psychological life. Idemitsu's melodramas always articulate a double-edged irony: With no identity outside of her maternal role, Yoji's mother fastens onto her son, ultimately destroying him. Yoji himself is seen as emotionally stunted, unable to leave his mother or experience love for any other woman.

Part 1: Rabbit tried to learn how to stand up for himself from a medical owl Part 2: Hedgehog tries to impress a fish Part 3: Animals are annoyed by a woodpecker and their children

Mona, Kristina and Peter have gone for a hike in the forest to relax from everyday life, when they suddenly hear strange sounds that lead them deeper into the forest. There, far away from civilization, they encounters something unexpected.

In "And if God didn't exist", traces the life of a young man with a bright future named Ray. However, the latter's life will change after the death of his parents. Now alone in the world, he is gripped by the demons of the street. Eliminating targets on command, it is through this work as a hitman that he makes a name for himself until an encounter which will once again change the course of this story made of intrigue and suspense.

Humorous investigation into the shortages and problems of distribution of goods in a war-beseiged economy

A guitarist wrestles with his inner turmoil, seeking elusive fulfillment in the ethereal echoes of his music.

A high school girl in Shenzhen helps her father to work as a truck driver at the Hong Kong border. One day, she becomes friend with a vietnamese migrant.

The director’s grandparents Wilhelmine, an Austrian Catholic, and Bernard, a Jewish Czechoslovakian communist, have always been part of her life, although she never met them in person. Her uncle Hermann lives in what was once their house, with their furniture, Marx and Lenin busts, Hanukkah lamp, countless photos, letters and oil paintings. Through the film Judith Schein asks whether it is possible for a house and its interiors to narrate History.

This film collage is based on Heinrich Heine’s poem "Lorelei". Traditional German postcards were used with images of the siren on the Rhine who lured fishermen and sailors to their death with her beauty and song. The stop-trick was used to film the participants who recite the poem, as well as old beer-drinkers who sing in beer cellars.

Ingmar is a narcissist with relationship issues and repeatedly manipulates and emotionally abuses his partners creating a cyclical panern of behavior.

Until the 1970s, Italian cinema dominated the international scene, even competing with Hollywood. Then, in just a few years, came its rapid decline, the flight of our greatest producers, a crisis among the best writer-directors, the collapse of production. But what are the true causes and circumstances of this decline? In an attempt to provide an answer to this question, Di Me Cosa Ne Sai strives to depict this great cultural change. Begun as a loving examination of Italian cinema, the film transformed into a docu-drama that alternates between interviews with the great names of the past and fragments of cultural and political life of the last 30 years. It is a travel diary that shows Italy from north to south, through movie theatres; television-addicted kids; Berlusconi and Fellini; shopping centers; TV news editors; stories of impassioned film exhibitors and directors who fight for their films; and interviews with itinerant projectionists and great European directors.

A documentary film showing life in one of Hamburg’s homes for seniors. Over the course of six months, Elfi Mikesch interviewed and filmed the inhabitants, concentrating on a female couple who are spending the rest of their lives together in a close and intimate relationship.

Communication is lacking. This can be felt, just like the things that can never be truly spoken. But lack does not mean a black hole, it is a space that fills itself.

Ian is a middle-aged man forced to live with frequent and incontestable frustration of not having fulfilled any of his dreams. An unexpected encounter with Otto eventually take Ian, violently, from his constant and unchanging comfort zone.

Wuppertal is a drizzly, industrial city on the Rhine and one immediately wonders why Pina Bausch and her avant-garde dance troupe have settled there. A socially engaged documentarian, Wildenhahn is also perplexed by this issue and spends considerable time trying to place Bausch in a context outside of the aesthetic. Still, the dance company's daily life and the excruciating rehearsal and performance schedule is solidly captured. The film begins cleverly: a dance critic offers sagacious comments on ballet dancers finishing their careers at mid-thirty just when, according to Bausch, the "aspects of misery, suffering and fear of death should become an integral part of a dancer's spiritual and psychological make-up." Wildenhahn's camera glides over the dancers' bodies as Bausch leads them through their paces, a consummate teacher. Leaving behind rehearsals of "Bandoneón" and "Walzer," Wildenhahn then ventures out into the streets of Wuppertal searching for the dance of the common people.