The film is an allegory in which the attempt is made to show the inner process of movement of the composer's soul at the time of the birth of music.

A Faustian tale about an old woman who makes a pact with Mephisto to regain her youth, but in return she must stay away from love. After making the deal, she meets two brothers who fall in love with her.

A six-year-old boy in pre-hippie 1960s United States endures ridicule from his schoolmates and worry from his father over his fixation with a TV star named Dottie.

A gang of thieves lure a man out of his home so that they can rob it and threaten his wife and children. The family barricade themselves in an interior room, but the criminals are well-equipped for breaking in. When the father finds out what is happening, he must race against time to get back home.

The tragicomedy of the absurd, is based on the works of Daniil Kharms (1905-1942). Trying to recreate reality 30s, who came to the flowering of creativity Harms, the director plays the style of filming, acting at that time and enters into the picture, "the aged" sound. Thus, it is possible to achieve maximum reliability of the author's text and sound to help the viewer to immerse themselves in the atmosphere in which he lived and worked classic absurdity. This is - a world of illusions, allusions and associations, reflecting a stream of consciousness of the creator living in an era of silence.

One of the more important European avant-garde films of the post-war period, this feature-length work offered a devastating comment on the mid-century European mood. A macabre landscape of impotence and absurdity, peopled by ambiguous travellers, finally explodes into senseless violence.

A convicted criminal dreams about his past the night before his execution.

A simple scene of two rather flamboyantly-dressed Edwardian children attempting to feed a spoonful of medicine to a sick kitten. The film is important for being one of the earliest films to cut to a close-up, then back again to the same medium shot as before.

A cri de coeur against Iraq War I from writer-director John Gianvito (Profit Motive and the Whispering Wind).

Four young men and a young woman sit in boredom. She smokes while one strums a lute, one looks at a magazine, and two fiddle with string. The door opens and in comes a young man, cigarette between his lips, a swagger on his face. The young woman laughs. As the four young men continue disconnected activities, the other two become a couple. When the four realize something has changed, first they stare at the couple who have kissed and now are dancing slowly. The four run from the house in a kind of frenzy and return to stare. The power of sex has unnerved them.

A reworking of the myth of Hippolytus, in which a chaste youth rejects the incestuous advances of his mother and is saved from death by a caring physician.

A wealthy real estate investor is forced to watch the rape of his girlfriend and then is sent a film showing the fact. He hires a hitman, Sho, and shows him the film, so that the detective can get rid of the criminals. But the boss of the criminal band is Ko, Sho's archnemesis, who raped and murdered his girlfriend.

James Broughton's creation myth, THIS IS IT, places a 2-year-old Adam and a bright apple-red balloon in a backyard garden of Eden, and works a small miracle of the ordinary. And since that miracle is what his film is about, he achieves a kind of casual perfection in matching means and ends.

This short, otherwise unremarkable feature is of some interest because of the way that it unabashedly caters to the tastes that it perceived in its audiences. Besides combining the elements of the risqué 'blue' movies of the era with the popularity of movies about fires, it also attempted to use the combination to get extra mileage out of it. The movie's title summarises the setup, and most of the footage shows firefighters using ladders to rescue stage girls, clad in portions of their costumes, from an upper level. Although it all seems pretty tame by today's standards, it no doubt provided its male viewers with some brief moments of excitement as the various women hurried down the ladders with their costumes in disarray.

Kren frames the image to suggest a proscenium, with a view to the harbor that conveys a literal sense of “tele-vision”. The static framing of the image and the clearly stratified mise-en-scène can hardly provoke interpretation. The sight of the girls does so all the more. Kren, the gentle voyeur - who turns the viewer into a secret accomplice - observes three teenagers, and probably like them, awaits a rendezvous. (Thomas Trummer)

A water server in a small railway station in Eastern India doesn't return home one evening. His wife comes to term with inhumane reality while looking for him far away from her picturesque village surrounded by mountains and forests. While she and her friends arrive at the rail station they hear someone has been run over by a train. Where is he? Will she succeed in finding him? Is death certificate merely a document?

Number Two’ is an audio visual work which materializes the definite possibilities of sight and the existence of light in space with the drama in between image and sound as a reaction . It treats the surface of the film itself as a digital artefact that forms an image with a human intervention .It can be seen as an enlargement of a moment in time where form and space breaks inside an indefinite reality .

ReZoning Love follows Violet, a twenty-something struggling with a rent increase and a low paying job, who meets a mysterious woman, D, who exposes her to a world beneath the surface of a screen.

A man faces a life-changing decision to make; one of the two choices that could make a huge impact to his life.

A young girl is searching for paradise in an endless universe. Her journey ends as the Moon reveals a fragment of the truth. Her belief in the paradise merges with the promise of time and tells the story on the edge of reality. The analogy between pain and hope is visualized by using archived film material and typographic art.