A father hires an attractive live-in tutor to help teach his son to be more confident around women. Comedy ensues when both father and son fall for her and attempt to sabotage each other’s attempts at romance.

Hervé is a lonely man who lives only for his self-defense courses. Fired from the zoo where he works because he depresses the animals, he becomes a night watchman in a factory. To pass the time, he watches the comings and goings of a strange pair of lovers: his colleague and his wife who sells her body with her husband's blessing.

Lalou works as a shepherd in the mountains with his friend Clara, who came to take care of the herd before her leaving for the army. Next day, Lalou goes to a remote hotel where he secretly meets up with Harmony, an android he madly loves.

The German ex-top model candidate Luna imagined it completely differently. She stands at the train station in Linz with all her luggage because she was promised a place in an influencer shared apartment. But Luna has too few clicks, too few followers and too little fame, which is why she's thrown out of the shared apartment before she's even been inside. Things are also going differently than expected for programmer Heribert, because he actually wanted to present the app idea at a pitching contest at Ars Electronica Center that would free him and his development team from his boring help desk job. But his pitch is at first pathetic, then embarrassing and ends in a faux pas with a shitstorm. And so he and his colleagues are thrown out before they can even develop. When the completely inexperienced but fearless would-be influencer Luna Heribert discovers first in the viral video and then in real life in Linz, she makes him an offer because she knows: we are better together than alone!

Serials usually spawned feature film versions, but with this film, it was the other way around. A 1932 Buck Jones Western, White Eagle was made into a serial nine years later, again starring Jones in the title role, a (supposedly) Native American Pony Express Rider defending his people against a gang of evil Whites.

Veeranna and Malli loves each other. But things changes a lot when Veeranna returns home from military service.

Drifting clouds. They are not nice little clouds that invite us to interpret them symbolically; rather they are poisonous and unhealthy clusters, a skin rash of the sky, an impenetrable gray curtain of smog. This is a trailer of impressive tranquility and simplicity. A second look, however, opens up new dimensions: Are there not – as so often the case in Gehr’s work – unsuspected, amorphous forms that manifest themselves? Has an event scurried quickly past us while we were still busy discovering the mysterious in the seemingly obvious? In fact, these are two trailers in one: a palimpsest of the cinematographic pleasure of mystification.

Danka makes a living cleaning the fifteen rooms of a hospice in Berlin. This film makes a portrait of her, a woman who lives in a place of dying.

Sino and Mo are detectives use unorthodox methods to solve crimes.

The circle of life. A mantis gets eaten by a frog, the frog is been swallowed by a stork while the stork itself is eaten by a crocodile before the crocodile gets shot by a hunter.

A ruthless killer (Gary Hudson), hell bent for revenge, escapes prison and vows to kill the Texas Ranger (Sam Jones) who sent him there. With the aid of his two brothers, he set off on an explosive journey to make his tormentor pay the ultimate price, a slow tortuous death.

Roam the Wild West frontier land of the Rio Grande’s Big Bend alongside its iconic animals, including black bears, rattlesnakes and scorpions.

YOUNG LIONS OF GYPSY takes us through a night in the life of Pio, a young Romani boy living in southern Italy.

An ambient work of many things, including orchids blooming, and plants growing, superimposed over raw footage from post massacre filmings of the 1982 massacre of Palestinians at Sabra and Shatila refugee camp in Lebanon. Cloud footage, Hubbell space imagery, the visible body crosscuts, and abstract shots of slow motion water, add to this reflection of the past, its present context and forbearance. With the voice over of Abdel Majid Fadl Ali Hassan (a 1948 refugee living in Bourg El Barajneh camp) recounting a story told by the rubble of his home in Palestine [Israel], and the collection of audio accompanying the clips, the tape permeates into an intense essay on dystopia in contemporary times. Working directly, viscerally, and metaphorically the videotape rovides an elegiac response to the Palestinian dispossession.