A young photographer's home is haunted by it's former residents.

A woman and her child are kidnapped by her lover and plans revenge on him.

People is a film shot behind closed doors in a workshop/house on the outskirts of Paris and features a dozen characters. It is based on an interweaving of scenes of moaning and sex. The house is the characters' common space, but the question of ownership is distended, they don't all inhabit it in the same way. As the sequences progress, we don't find the same characters but the same interdependent relationships. Through the alternation between lament and sexuality, physical and verbal communication are put on the same level. The film then deconstructs, through its repetitive structure, our relational myths.

Tato obrazová symfonie není banálním portrétem jednoho města, ale je dílem dokonalé rovnováhy mezi rytmem a idejemi. Režisérovi se podařilo evokovat pocity člověka žijícího ve velkoměstě, aniž by se uchýlil k popisu či vyprávění.

A crafty child who wants to see his mother again after her death, finds a way to do it.

"This piece, with the generic title Film, is a series of short videos built around one protocol: a snippet of news from a newspaper of the day, is rolled up and then placed on a black-inked surface. On making contact with the liquid, the roll opens and of Its own accord frees itself of the gesture that fashioned it. As it comes alive in this way, the sliver of paper reveals Its hitherto unexposed content; this unpredictable kinematics is evidence of the constant impermanence of news. As well as exploring a certain archaeology of cinema, the mechanism references the passage of time: the ink, whether it is poured or printed, is the ink of ongoing human history." –Ismaïl Bahri

A young father and his two children struggle to find harmony after his wife leaves them for another man.

Follows a young cyclo driver on his poverty-driven descent into criminality in modern-day Ho Chi Minh City. The boy's struggles to scratch out a living for his two sisters and grandfather in the mean streets of the city lead to petty crime on behalf of a mysterious Madame from whom he rents his cyclo.

Norbert je mladý muž, který rychle potřebuje peníze a získá od přítele Matriala padělanou pětisetfrankovou bankovku. Poté, co ji utratí ve fotografickém obchodě, jeho bezskrupulózní majitel se rozhodne ji poslat dál...Něšťastnou obětí se stává dobrosrdečný poslíček Yvon Targe, který nepozná, že je bankovka falešná. Je zatčen ve chvíli, kdy s ní chce zaplatit jídlo. Snaží se zažalovat fotografa, ale ten podplatí prodavače Luciena, aby o transakci s falešnou bankovku mlčel. Kvůli tomuto skandálu ztratí Yvon práci. Ve snaze uživit rodinu se zaplete jako řidič auta, kterým chtějí uprchnout zločinci. Bohužel, loupež se nepovede a on skončí na tři roky ve vězení. V momentě, kdy je zatčen, jeho dítě umírá na záškrt a opustí ho manželka. Pod vlivem děsivých událostí se Yvon stane zlodějem, násilníkem a klidně i chladnokrevným vrahem...

A young man talks to his psychiatrist about strange visions he has been having in his dreams.

Accio and Manrico are siblings from a working-class family in 1960s Italy: older Manrico is handsome, charismatic, and loved by all, while younger Accio is sulky, hot-headed, and treats life as a battleground — much to his parents' chagrin. After the former is drawn into left-wing politics, Accio joins the fascists out of spite, but his flimsy beliefs are put to test when he falls for Manrico's like-minded girlfriend.

An opportunistic singer woos a wealthy widow to boost his career.

Captain Kirk. T.J. Hooker. Denny Crane. Big Giant Head. Alexander the Great. Henry V. Priceline’s Negotiator. These are but a handful of the innumerable masks worn by William Shatner over seven extraordinary decades onstage and in front of the camera. A peerless maverick thespian, electrifying performer, and international cultural treasure, Bill (as he prefers to be called), now 91 years young, is the living embodiment of his classic line “to boldly go where no man has gone before.” In unprecedented fashion, You Can Call Me Bill strips away all the masks he has worn to embody countless characters, revealing the man behind it all.

This spaghetti western presents a fictitious version of the often filmed legend of Pat Garrett and Billy the Kid. Billy becomes innocently an outlaw while protecting his mother, but then turns into a trigger happy killer. When he falls in love he tries with the help of Pat Garrett, a fatherly friend, to change back. However, circumstances force Billy to become violent again and it is Garrett who is credited with the killing.

This is not a film by Khavn. A crime-thriller retro-road movie based on the Kuratong Baleleng Rubout Massacre of 1995.

When Marty's car is stolen, he sets out on a mission to find it; however, he soon realizes that the person who stole it is much more dangerous than he thinks.

When two rival crews head into the desert to shoot a reality show based on a buried Navajo treasure, they discover that truth is not only stranger than fiction, it's more dangerous. Something wants them from digging deeper and from escaping the desert alive.

A pair of Chicagoans meet-cute one chilly evening leading to an all-night affair and a quaint morning after... well mostly quaint 💕