Roughly chronological, from 3/96 to 11/96, with a coda in spring of 1997: inside compounds of Aum Shinrikyo, a Buddhist sect led by Shoko Asahara. (Members confessed to a murderous sarin attack in the Tokyo subway in 1995.) We see what they eat, where they sleep, and how they respond to media scrutiny, on-going trials, the shrinking of their fortunes, and the criticism of society. Central focus is placed on Hiroshi Araki, a young man who finds himself elevated to chief spokesman for Aum after its leaders are arrested. Araki faces extreme hostility from the Japanese public, who find it hard to believe that most followers of the cult had no idea of the attacks and even harder to understand why these followers remain devoted to the religion, if not the violence.

When his sister disappears after leaving their home in hopes of singing stardom, Luis tracks her down and discovers the grim reality of her whereabouts.

To defend their kingdom against a sudden invasion, a mighty general returns to the battlefield alongside a war orphan, now grown up, who dreams of glory.

Hannah and Matt, a young couple on their first holiday together, quickly discover that they may not see eye-to-eye. Feeling as though she let her boyfriend down, Hannah enlists the help of a mysterious gypsy woman, in the hope that the couple's troubles can be overcome. However, when Matt wakes to find his girlfriend has disappeared, the gypsy woman's sinister intentions become all too clear.

Val, plagued with memories of the past, becomes convinced that a demon entity has possessed her puppets "Punch and Judy." She becomes sick, and her family thinks that she is close to death and losing her mind. Celebrating Val's birthday, the family begins to disappear, and those that remain have horrifying experiences with the puppets- and they soon learn the true story of Punch and Judy.

Let’s get SICK’NING for the Holidays! RuPaul’s Drag Race legend Laganja Estanja is here for Hey Qween’s Very Green Christmas Special!

Set in the 1800s, the film is about a "dacoit" tribe who take charge in fight for their rights and independence against the British.

An experimental film through the eyes of a man

After the death of their abusive father, two estranged twin brothers must reunite and sell off his property.

Cameron Duncan wrote, directed and starred in this short film, the same year a lump in his knee turned out to be cancerous. Aged only 16, Duncan had already showcased his filmmaking talents on a series of award-winning short pieces made for Fair Go's annual programme devoted to commercials. With DFK6498, he channels his recent experiences into a short, stylishly-shot memoir of incarceration, frustration and freedom lost. The film went on to win a trio of awards at Wanganui's River City Film Festival and win praise from director Peter Jackson.

The widowed furniture manufacturer Karl Ravinski is planning a merger in Mallorca, but the call girl Cora Talheim, which is to distract the wise businessman, warns him in the last second before the giant fraud. Ravinski is so fascinated by her charm and pride that he falls in love with her and spontaneously marries her. With that he disgusts his children Felix and Hella, who worry about their inheritance. Only the boyish Irene befriends Cora. But as Ravinski dies of heart failure and Cora escapes an assassination attempt, pushes Count Count on grim secrets behind the perfect family façade.

Making of documentary surrounding the production of ‘Anora’

On July 7, 1944, a U.S. Army hospital on the remote island of Saipan is overrun by Japanese forces during a relentless attack. Outgunned and surrounded by the enemy, a lone medic puts it all on the line to lead a band of wounded soldiers to safety.

A turbulent day in a life, painted by air.

As John T. Wrecker continues his task of protecting a group of refugees from a virus, the threat of something new and even more dangerous grows ever closer in the form of monstrous mutants.

Hillary and Bonnie meet one morning by the side of the road. They become fast friends, share their secrets, and, on a rising wave of frenzy, later that afternoon, murder an old woman. They did it, they say later, for fun.

Before the three feature films, Mario Schifano directs the camera towards the people around him to create real film diaries. His friends, his time partner and the artists he frequented are portrayed in their everyday life or object of the mechanical gaze of the camera, a filter through which to look at the outside world.