Return

Static images of an old country house are combined with voices of the past to evocative effect. Haunting and nostalgic, 'Return' conveys the life that exists in old, abandoned places.

Return

Return

Eyüp decides to cross mount Ararat looking for his aunt in Yerevan after following a madman's words. His aunt has also been expecting someone to come from behind this mount for many years. Eyüp cannot be sure about the woman he finds behind the blue door, whether it is his aunt or not because they can't understand each other.

The Phantom Stockman

Kim Marsden inherits a cattle station near Alice Springs after the death of her father. Kim becomes convinced her father was murdered. She sends for a legendary local bushman called the Sundowner, who was one of her father's best friends.

RETURN

‘RETURN’ follows Torstein Horgmo, Mikey Ciccarelli, Mons Røisland, Brandon Cocard, Brandon Davis, and Raibu Katayama as they push the boundaries of what can be accomplished snowboarding when innovative minds join forces.

Return

Owen, a young man is dissatisfied with his life. He heads into the forest to escape and learns a lot during his time there.

Return

Return is a methodical construction of the approach of an individual towards an unseen goal, which assumes metaphorical significance. Viola moves toward the camera/viewer, pausing every few steps to ring a bell, at which point he is momentarily thrust back to his starting place, and then advanced again. Finally reaching his destination, he is taken through all of the previous stages in a single instant and returned to the source of his journey.

Ultraman Hayata: The Lost Films

This DVD set have all The Ultraman pre-release lost films, recorded in 8mm, and release officialy in 2005 with a photobook.

Return

RETURN tells the story of a retired Green Beret who embarks on a healing journey from Montana to Vietnam. There he retraces his steps, shares his wartime experiences with his son, treats his Post-Traumatic Stress Disorder, and seeks out the mountain tribespeople he once lived with and fought alongside as a Special Forces officer.

Return

A young man returns home for the weekend to discover the difficulty of juggling friends, parents, magic mushrooms and several thousand chickens.

1-2-3

How can we visualize Body Ownership? We connected Body Ownership with an I-perspective, looking for images that uncover the multiplicity of the ‘I’ First person plural. Strapping two body cameras (GoPros) to our chests, we move in direct body contact. Our premise is that both I-perspectives of the cameras are at interplay with each other, showing that gaze is never produced by a singular entity. Instead, it is the result of bodies touching and reacting constantly to each other. The body cameras are joined by an external camera – a third-person perspective. While it may hold a position of power as the one who frames the image from the outside, it desires to dive into the collective I-perspective. BE-LONGING. At one point the gazes of the I-perspectives and the outside camera meet – they look at each other looking. Gazes conjoined with bodies. Body is spatiosocially bound, is situated.

The Good Witch's Charm

Good Witch Cassie Nightingale is back to her bewitching ways, but this time she’s also juggling a newborn daughter and her job as town Mayor. With such a busy schedule she and her husband, town sheriff Jake Russell, aren’t getting much sleep. Hoping for a break, Cassie plans a much needed vacation with her new family. But things go awry when a crime wave sweeps through town and an investigative reporter tries to ruin Cassie’s image after a video of her magically disappearing turns up on the internet. To make matters worse, Cassie’s estranged foster mother appears in town and Cassie’s stepdaughter is suddenly accused of the recent robberies. Supported by her loyal family and friends, Cassie must rely on her signature charm to put a stop to the rumors before they completely destroy the town, and a Good Witch’s reputation!

Eight Images from the Life of Nastya Sokolova

Russia has a surfeit of overqualified graduates. Nastya Sokolova is one of them. Her career, if you can call it that, gave her a plethora of unexpected work experiences: from desk slave in banking to head bookkeeper of an illegal brothel. The film’s eight tableaus detail the various workplaces, colleagues and situations. To finish it off: deadpan commentary.

Gasping for Air

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.

Return

A young woman was buried alive with the intention of killing, but she survived by chance. hears the cries of her little girl and fights to stay alive for her daughter. But this incident will enlighten a new worldview for her.

Mobile Suit SD Gundam Mk IV

The SD Gundams are at it again: first with a race among all of the prior SD Gundam characters, then the SD Zeons run a space travel agency in the second episode.

1-2-3

“1-2-3” explores the harrowing tale of human trafficking in the country.

Pain

Dad catches a ball badly, injuring his finger. His guttural scream instantly hushes the entire sports complex. Sarah is paralysed. She barely recognises him; red faced, clutching his hand and crying. In the sanctuary of the locker changing rooms, Sarah explores and tests theories about what has happened with her Dad. She questions who her father is while struggling to grasp the concept of pain, both inside and out. Having found an apparent conclusion, Sarah returns to an apologetic Dad, and decides to put his promises to the test.music:Annette Focksproducer:Tobias Rosen, Heike Wiehle-Timmproduction:Relevant Film, Warner Bros Entertainment Germanybacking:Deutscher Filmförderfonds (DFFF) (DE), Schleswig-Holstein Film Commission (DE), Filmförderungsanstalt (FFA)(DE)distributor:Warner Bros Entertainment Germany

Return of the Killer Shrews

A reality TV crew charter a boat to an island for filming, one which the boat's captain had been to before and attacked by giant shrews, more than fifty years earlier.