The extremities of a middle-class being ramble on, reflecting poetically on the wretchedness of moderation.
Social & External
Unknown Role
Recently separated Sally finds out that her husband Ashley has gone on an expedition to Mount Everest and that his life is in danger.
A short film exploring the notion of identity in relation to our actions and society's perception of individuals.
Now aged 17, Antoine Doinel works in a factory which makes records. At a music concert, he meets a girl his own age, Colette, and falls in love with her. Later, Antoine goes to extraordinary lengths to please his new girlfriend and her parents, but Colette still only regards him as a casual friend. First segment of “Love at Twenty” (1962).
A closeted boy runs the risk of being outed by his own heart after it pops out of his chest to chase down the boy of his dreams.
2:43 a.m. An empty room. An unexpected calling.
Jaya and Fatima, two women deeply in love with one another, want to have a family. They have dreamt of a future together that would seem straight out of a fairytale. But then destiny has planned for them otherwise.
A group of teenagers try to survive in a run-down squat. A home birth, zero-hour contracts, bigoted parents, a mouse infestation - what's left to be thrown at them?
Wallace rents out Gromit's former bedroom to a penguin, who takes up an interest in the techno pants created by Wallace. However, Gromit later learns that the penguin is a wanted criminal. Preserved by the Academy Film Archive.
Wallace's whirlwind romance with the proprietor of the local wool shop puts his head in a spin, and Gromit is framed for sheep-rustling in a fiendish criminal plot.
In the course of one afternoon, Raphael's paradise turns into a spiral of guilt and paranoia.
“There must be a different solution than the one from hell’. Full unadulterated terror (and music). 'The best class always ends with a lesson'. Almost baroque in its ambition and detail, Akerman and Seabra Lopes’ mesmerising short film delves deeply into the hard-wired dread of music lessons. Sewn around Schubert’s steely Opus 1, which is itself based on the no less terrifying legend of Goethe's Erlkönig, their film is a revelation.” International Film Festival Rotterdam.
Johanie, the single mother of a dysfunctional family, takes a dim view of the arrival of Ian and his dog in the neighborhood. Like a trench dividing the two camps, the back alley becomes the witness of a rivalry where prejudice, fascination and frustration mingle slyly with the sound of barking.
The Artist feels like they could never be the muse and The Muse feels like they could never be the artist.
Behind the colors, glitter and excitement at the night market is Nabil, an older brother who lost his younger sibling. When he celebrated his younger brother 10th birthday. Nabil went through various obstacles in searching for his younger brother alone, until he discovered the true reality.
New kid Rory falls in love with the dentist's daughter Genie, and discovers painfully that falling in love can mean losing not only your teeth but your life....
Emily decides to air the skeletons in her closet and brave the scrutiny of a catty dinner party to win back her name.
After her husband dies, Nieves inherits his job as the super of a decaying apartment complex in New York City. But the job becomes more difficult than she anticipated when she discovers a disturbing secret in one of the units.
Introducing Hellarious: a once-in-a-lifetime feature collection that brings together seven of the most legendary horror comedy shorts ever made. The stories, from some of the world’s best genre filmmakers, feature a hilarious menagerie of zombie wives, amateur satanists, reverse werewolves, cannibal lunch ladies and more -- along with gust-busting gags, gross-outs and gore. Included in Hellarious: Lunch Ladies by Clarissa Jacobson and J.M. Logan, Horrific by Robert Boocheck (ABCs of Death 2), Death Metal by Chris McInroy, Born Again and ‘Til Death by Jason Tostevin and Randall Greenland, Killer Kart by James Feeney, and Bitten by Sarah K. Reimers.
