Milan, like Paris or Stuttgart, and like many other European cities, is the theater of the drama of immigration. Demba reconstructs his story and that of his brother Yaro, both Senegalese immigrants in Italy, in a long and fragmentary flashback that begins with Yaro’s murder and recounts their departure from the village, arrival in Europe, the work they find selling lighters and picking tomatoes in the south of Italy: the stages every “non-EEC citizen” goes through in Italy.

Hillary and Bonnie meet one morning by the side of the road. They become fast friends, share their secrets, and, on a rising wave of frenzy, later that afternoon, murder an old woman. They did it, they say later, for fun.

Silence dominates the work, as does the screen rectangle, which cuts off the “image” from a life time-space continuum and imposes upon the image its particular character. Within it, there is a play between tonalities, textures, large and small shapes.

After a tragic accident, Anya flees her home country looking for a new life, when she finally seems to have found her past returns to torment her again.

เทียนซาง หัวหน้าแก๊ง Hung Hing เสียชีวิตแล้ว โฮนัมและฮอนบุนพบน้องชายของซาง ซึ่งก็คือหยาง เพื่อเป็นหัวหน้าแก๊ง ในขณะเดียวกัน ฮอนบุนได้รับข่าวว่าน้องชายของเขา ซึ่งเป็นหัวหน้าแก๊ง Tuen Mun ถูกลอบสังหาร พวกเขาจึงเดินทางไปฮ่องกงเพื่อยุติเรื่องนี้

"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

New York police are bemused by reports of a giant flying lizard that has been spotted around the rooftops of New York, until the lizard starts to eat people. An out-of-work ex-con is the only person who knows the location of the monster's nest and is determined to turn the knowledge to his advantage, but will his gamble pay off or will he end up as lizard food?

Two teenagers are playing by night in a dirty parking lot. After they are driving on an empty road, they start to tease each other on the way to the sea, but they seem to be too young to drive and the road is a bit strange.

Life can be a little different through the eyes of an animated character.

Various introductions corners, card games, quizes, 'Making Of', and concert 'Backstage Footage'.

Pretty Bloody: The Women of Horror is a television documentary film that premiered on the Canadian cable network Space on February 25, 2009. The hour-long documentary examines the experiences, motivations and impact of the increasing number of women engaged in horror fiction, with producers Donna Davies and Kimberlee McTaggart of Canada's Sorcery Films interviewing actresses, film directors, writers, critics and academics. The documentary was filmed in Toronto, Canada; and in Los Angeles, California and New York City, New York in the US.

Alex has a crush on her brother's friend, Jesse. But Jesse likes Alex's brother, Taylor. Alex knows something is up with her brother. Caught in an awkward position, Taylor takes Alex and Jesse to his favorite spot.

Two shipwrecked boys become the focal point of a religious power struggle.

In the 9th century, Emma, a 17-year-old girl, is named Abbess in order to repopulate and Christianize border territories in conflict with the Moors. Upon arriving at the Abbey she will have to overcome the mistrust aroused by a woman determined to fulfill her mission, which will lead her to confront nobles, peasants and the nuns themselves. Despite everything, Emma will show that it is possible to challenge established power structures. Although she will pay a high price to get it...

Drugs, murders, robberies. In Turin, violence is an everyday fact of life, but a mysterious vigilante starts cleaning up the streets. In fact, the killer is a cop, Moretti, who went undercover to do the dirty work he couldn't do in cop's clothing.

A tramp tries to trick the community into paying for the funeral of his fellow tramp who was found frozen to death.

1989: 64th and last year of the Showa era. A girl is kidnapped and killed. The unsolved case is called Case 64 ('rokuyon'). 2002: Yoshinobu Mikami, who was the detective in charge of the Case 64, moves as a Public Relations Officer in the Police Affairs Department. His relation with the reporters is conflicted and his own daughter is missing. The statute of limitations for the Case 64 will expire in one year. Then a kidnapping case, similar to the Case 64, takes place. The rift between the criminal investigation department and police administration department deepens. Mikami challenges the case as a public relations secretary.

Jenny Skoutari, a student and the daughter of a party local commander Kosmas Skoutaris, gets use to visit the private library of - her father's political rival - the shipowner Miltos Kassandris. Kassandris prepares his nephew - and a childhood friend of Jenny - Nikos Mantas, as a candidate for the next election. Mantas' rival has a lead, and is backed by Skoutaris, who is facing financial problems. So Kassandris decides to force Jenny to marry his nephew with a fake marriage, while at the same time financially breaks down her father in order to secure the election of his nephew. This marriage, however, will lead to unexpected situations between the couple..