A homeless man tries to keep people away from Priest Street in Stockholm every night when a furious ghost comes...

The Russian version of the movie "Fight Club" is not just a Russian version of a well-known cult film, it is the result and of the hard work of two young men and their love for cinema, Alexander Kukhar (GOLOBON-TV) and Dmitry Ivanov (GRIZLIK FILM) , who are responsible for this project, from the development of its idea and the selection of the cast, to the organization of filming and financial support. Filming lasted a whole year. Everyday work, constant trips, searching for suitable film sets and an exhausting schedule - all this was not in vain and resulted in an unusually amazing and original project - the film "Fight Club", created in the very heart of southern Russia, in the city of Krasnodar, by two young people

A portrait of teen escort, 'Coco'.

A video recently posted by two teens shows something popping out of a closed toilet at an abandoned school.

Randy and Jason Sklar standup special recorded in Madison, Wisconsin.

A carnival girl pretends to be Swedish in order to win a movie role.

Three years living in Sunset Park, living between the BQE and the Greenwood Cemetery, accumulating footage of junkyard cats, Park Slope strollers, burned out cars, flying birds.

Tihar is a heartwarming short film celebrating the cherished Hindu festival of brothers and sisters. Bipana and Kalpana, two sisters living in the United Kingdom, invite their brothers, Suraj, Naresh, Dhiraj, to join them for a special Tihar celebration. The siblings, originally from Nepal, come together on this meaningful day, sharing laughter, love, and traditions far from their homeland. The brothers present thoughtful gifts to their sisters as a token of love, and together they light diyas, exchange blessings, and enjoy a festive meal. The film highlights the essence of Tihar as a time to strengthen family bonds. It reminds viewers that amidst life's challenges, festivals provide a perfect opportunity to pause, reconnect, and cherish time with loved ones. The message is simple yet profound: family gatherings and celebrations are the true essence of life.

A retelling of Romeo and Juliet in Jerusalem involving a Palestinian woman and an Israeli man.

Max films his friends having lecherous fun at his own birthday party; unaware of how it will change his life. Just out of high school, by haphazard, he becomes a big porno producer. His father, a principled police major, chases porno makers, not suspecting that one of them lives in his own apartment. Hoodlums and girls from good families, corrupted policemen, petty dealers find themselves in a luring and scary world of porno.

Satoko is a mistress by trade or fate: when her master, the silkscreen artist of the Kohoan Temple in Kyoto, dies, she is given to the temple's lascivious head priest Kikuchi. She is drawn to a melancholy young acolyte, Jinen, who has observed the profligacy of his cruel master and Satoko's utter dependence on the man. Jinen is both fascinated and disturbed by Satoko's interest in him; he is similarly caught between loathing of Kikuchi and of the dark circumstances of his birth and his own moral weakness. The story unfolds in a dreamlike manner—a flashback inspired by a now-infamous image on a silkscreen in the souvenir shop at the so-called Temple of the Wild Geese.

Through vivid recreations, personal reports, eyewitness accounts and expert commentary, this program explores the causes of the school shooting at Columbine High School.

Dr. Henry Jekyll experiments with scientific means of revealing the hidden, dark side of man and releases a murderer from within himself.

In young Kaleb's world, there is his undocumented mother Betty, his surrogate big brother Mehdi, and especially Jean-Luc, the lonely tailor who has taken a liking to this little boy. In the crowd of anonymous people in Paris, they should never have crossed paths. But fate has brought them together to form an improvised family, bound by the mission to build a future for Kaleb.

Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.