Emma Bovary is bored by her country doctor husband and gives in to the affections of several rich suitors as well as the temptation of living beyond her husband's means.

Short film built from photographs, sped up like a traditional stop motion and is meant to be an evocation of the English Eerie and Folk Horror.

Delves deep into the anxiety, thrill and uncertainty of six aspiring animation artists as they are plunged into the twelve-week trial-by-fire that is the NFB's Hothouse for animation filmmakers.

Video installation, 2005, at LOKAAL_01 Breda 2007, Burning Marl, curator Frederik Vergaert in Seppenshuis Zoersel, 2005. A woman walking through 3 video images. Three screens display how the day’s light passes by: from the early morning light until late at night. Along with the woman the artist walks through the forest, in the same rhythm, the same pace. Off-screen she looks through the camera, fragmenting time. The age-old androgynous trees are a vertical constant along which the woman moves, as if in an interval between visibility and invisibility, between sound and silence, while the light keeps on evolving metabletically.

In our current world, where worth is often gauged by online popularity, an economy has developed for paying for followers and likes. Through access inside the “click-farms” of Bangladesh, Like explores the multi-million dollar industry that grows social media followings for celebrities and brands alike.

The film’s hero, Ilyich, cannot understand what’s wrong with him. Ilyich is a for- mer “mole”, an external observation agent in the KGB, then FSB. A skilled instructor. Now he is retired. From loneliness, he continues to watch those who catch his attention and curiosity. The doctor diagnoses him with empty sella syndrome (the syndrome of an empty Turkish Seat), which poses no danger for society... One day new neighbours move in, a young couple of musicians, and Ilyich’s life changes...

Marc and Camille live with their little daughter in an isolated house on the Estérel coast. The fish Marc catches in the morning are enough to keep his family fed. In the afternoon, he's a parking lot attendant. The family enjoys a peaceful existence on the fringes of society - until the day that a gendarme decides to put an end to this freedom.

Bolivian drama that serves as a plea for tolerance of cultural diversity in that country.

Poonam, a mother and a wife,facing domestic abuse and martal rape, meets her long time friend on the night of her anniversary. As they engage in a deep cnversation after-party, her husband intervenes.

Cuenca, early 1990s. Amelia takes care of her soul friend Miguel, sick with AIDS, who, in his last wish, expresses his desire to receive the last rites and tells Amelia a secret that no one ever knew.

Félix Mayol performs The Trottins Polka (La Polka des Trottins, by A. Trebitsch and H. Christine) in this phonoscene by Alice Guy. This early form of music video was created using a chronophone recording of Mayol, who was then filmed "lip singing". Guy would film phonoscenes of all three major Belle Époque celebrities in France: Polin, Félix Mayol, and Dranem.

A profile of the more than 2,000 Belgian refugees in the fishing port of Brixham.

Mirac is 35 years old, a psychic who is fond of religious duties. Having lost his family in a traffic accident at a young age, Mirac starts to stay with his grandmother, Döne. Döne is a sorcerer who casts evil spells and gets the help of a genie named Ummar. Mirac is disturbed by his grandmother's evil spells and escapes from his grandmother and settles in Istanbul.

Disguised as an Italian medic, Dolas finds himself on a ship evacuating wounded Axis soldiers to Italy. He leaves the ship disguised as a Nazi soldier, but is found out, declared a deserter and sent to the Eastern Front. However, on the flight to Russia, he is able to escape with a parachute, and finds himself back in Poland, now occupied by Nazis.

The Red Mountain Tribe hangs out in my backyard. "Lipton's lovely home movie PEOPLE, in its affection for valuable inconsequential gestures, indicates in the course of its three minutes why there has to be a continuing alternative to the commercial cinema." – Roger Greenspun, The New York Times