Rosa and Dara recount their fantastic summer adventures, chasing down their grandparents' runaway cows in spots around the world.

Portrait of a troubled peasant family. The film tells the story of two times widow Anna Belova who lives together with her brother Mikhail. Blending the two personalities, Kosakovsky characterizes the true Russian soul: she is the rational worker, honest and strong - he is the drunken poet, the idealist, his philosophy fades into radical nonsense time after time.

3 young women encounter car trouble on the way to a Dragonsclaw concert during a rainstorm. They are forced to go seek help, where one by bloody one they are attacked by a masked maniac and hung on meathooks. Who will survive and what will be left of them?

A money transporter is ambushed near the small Eifel village of Eschbach. The young LKA chief inspector Lona Schanz then determined in the village and its surroundings.

A spokesman rises to the top of the Greater Boston area spokesperson game.

When Su-san invites his late friend's daughter to come along on a fishing trip, she falls in love with Hama-chan's fishing protégé.

We can easily say that our life is a game, not an ordinary one where you can determine the story, the space and the characters, but a game which comes with opportunities and traps, with gains and losses, a game we have to play every second, a game in which we are rooted. Sometimes we choose the virtual space in order to escape reality, but in the end it turns out to be just a way to avoid the real game, our everyday life. We see the big changes as new levels in our lives and we don't have the option to skip, our only choice is to play. So, the "Call of Pink" comes with the positive point of view that the world needs to overcome the real life levels, which we all know are the hardest to pass. Anyway, some details as creativity and fun are the things we should keep as weapons for the reality.

A drama shot in 5 hours and 17 minutes, exactly the time it takes to travel by rail from Malmö to Stockholm. It's mid-winter. On a train a man and a woman end up in the same compartment. They have a typical conversation between strangers until they discover they are going to the same wedding. It's unimportant whether they got an invitation or are going uninvited. The important thing is that both have plenty of reasons to stop the wedding… It soon turns out that they share not only the same goal but also painful memories and romantic disappointments. This brings them closer together.

A hapless stage musician struggles to keep the attention of her meagre audience. When her tricks start to backfire with increasingly dire results, she turns to ever more spectacular methods.

This film is an adaptation of Jean Amila's novel Le Boucher des Hurlus. The story, set in the aftermath of the war, is about Michel, a young man orphaned in this manner. He lives with his mother until she collapses under the wave of vituperation from the women in her community, who consider her murdered husband to have been a traitor. When he is sent to an orphanage, he discovers that many of the children in it are there for the same reason he is. Michel decides to escape his captivity and kill the general who ordered his father's death. He and the other children like him are able to get away from the orphanage, in the course of their journeys, they tour the grim battlefields of the recent war. Together, they return to Paris, determined to exact their revenge.

Chaos ensues as a gay actor and his female costar fake being a couple as they try to save the press junket for their new television show.


"Tacita Dean’s JG is inspired by her correspondence with Ballard regarding connections between his short story 'The Voices of Time' (1960) and Robert Smithson’s iconic earthwork and film SPIRAL JETTY (both works, 1970). JG is a 35mm anamorphic film shot on location in the saline landscapes of Utah and central California using Dean’s recently developed and patented system of aperture gate masking. An unprecedented departure from her previous 16mm films, JG tries to respond to Ballard’s challenge – posed to her shortly before he died – that Dean should 'treat the Spiral Jetty as a mystery her film would solve.' " - Anthology Film Archives

Judith decides to go on her own to the salsa-dancing night, even though her boyfriend, with whom she goes there every week, can’t accompany her. A stranger, with whom she briefly dances, offers to walk her home. Next morning, upon returning home, Judith refuses at first to accept that she’s a rape victim, but in the end decides to go to a doctor and press charges - which prove inadequate to have the rapist convicted. Under the influence of sweeping bodily and mainly psychological oscillations, Judith decides she has to follow an unorthodox path in order to prove the perpetrator’s guilt.