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

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.

A girl is at school. Suddenly it's as if she can't breathe. As she runs down the stairs we follow her into her mind. It takes us deep into dark woods.

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

A horror short with no dialogue (Advised to watch with headphones)

Back from a tour of duty, Kelli struggles to find her place in her family and the rust-belt town she no longer recognizes.

The "Jackpot Island - Kumanthong Returns" continues to spread obsession and doubts about one of Southeast Asia's most terrifying divinities. Who is really hiding behind the evil, monstrous face and holding terrifying secrets? What does a deadly island and the terrifyingly mysterious appearance of monstrous mermaids have to do with this brutal and terrifying spell?

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.

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.

8mm work directed by Norihiko Morinaga.

Wildlife cameraman Stephen de Vere films and narrates this personal and intimate portrait of some of the fields and meadows near his home. From elusive deer, to a bee that nests in an empty shell, there are creatures to discover as fascinating as any found in a tropical forest.

Sequel zum Disney-Kinofilm „Der König der Löwen“. Zu Beginn der Fortsetzung übernimmt Kion, das zweitgeborene Jungtier von Simba und Nala, die Rolle des Anführers der „Löwengarde“, einer Gruppe kluger und mutiger Tiere der Steppe, die das Königreich beschützen sollen. Weil Kion jedoch keine jungen Löwen in sein Team holt, verstößt er gegen die Tradition. Stattdessen wählt er einige Freunde aus, die er für die beste Wahl hält: den tapferen Honigdachs Bunga, den selbstbewussten Geparden Fuli, das sorglose Nilpferd Beshte und den intellektuellen Reiher Ono.

A single man has worked most of his life in a supermarket. One night, he unexpectedly meets with his father, and the two are faced with the question of the reasons for their separation.

Everybody's gotta have it all!

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.