A haunting ghost story spanning two worlds, two centuries apart. When 13 year old Tolly finds he can mysteriously travel between the two, he begins an adventure that unlocks family secrets laid buried for generations.

A young woman on a bike ride suffers a head injury and is transported back in time to an event which occurred on the same spot years before during the Irish War of Independence when an informer was captured by the IRA.

A photographer is looking for audacious bodies for her work… And finds an unexpected model. To the beat of Noporn, this short film tells of the power of their encounter.

The film presents the wildlife of the Gemenc flood area sanctuary, arranging the episodes of each selected species into little etudes: how the fox steals the chicken from the pen, how the roused deer flees jumping across a huge abyss, how the sturgeon sticks to the bottom of the water, how the adoption of an orphaned fawn takes place. Wildlife is wound into striking novellas by shedding light on the inner life of the forest’s inhabitants.

How childhood friends David Rocastle and Ian Wright, one a teenage prodigy and the other a late bloomer, went on to become Arsenal legends.

Stefan Koch, a man from the city of Bonn, discovers in the drawer of his deceased mother a letter from his grandfather to his father and some official documents attesting to the death of his grandfather in the Second World War, in Moldova, a few miles north the village of Speia. Following this discovery, Stefan decides to leave, in search for his grandfather’s grave. Initially, he has great difficulty in his searches, because of language barriers. Later, he meets some freehearted and generous people who make him understand that there are actually no boundaries between the East and the West.

After finding her grandmother's box of memories, Talita will discover a special story about two young people.

"Amor de Outro Tempo" was presented at the Advertising and Propaganda Short Film Festival (UNIFIPMoc 2023).

The epic movement of poor Americans organizing to end poverty as documented in a decade-long journey by the filmmakers. Living Broke in Boom Times has condensed three groundbreaking documentary films spanning a decade into segments of ideal length for classroom use, with new wrap-around commentary from key activists who led the movement. Cheri Honkala, Willie Baptist and Liz Theoharis discuss the strengths and weaknesses of the organizing, and the lessons learned from hard-won experience.

Archaeological exploration encourages the filmmaker to reflect on the flow of time and life.

A couple's love has made the time stand still. Isolated in a static world problems in their relations start coming to the surface.

Alaouié presents the stories of four exiles from Beirut. Their only connection is the voice of the narrator and their situation of living in exile in Europe. Told with a subtle humor, the film sketches four highly individual portraits of people, whose lives have taken unexpected turns due to the madness of the Civil War.

A collapse of multiple lifetimes into pieces of amnesia; us, experiencing itself in dreams of life and death. A direct expression of the slow vibration as it currently is; you, a brief movement in the vestiges of nothingness.

A drama from the life of two generations of a big family from Leningrad. Loosely based on a novel by Yuriy Nagibin.

A study of the basic elements of film, first and foremost framing and the relationship between image and sound. The film consists of shots of a Spanish barber at work, a man telling stories, and the musician Louis Hjulmand playing the vibraphone.

In order to boost circulation of his newspaper, Lord Rawnsley announces an air race and offers £10,000 to the first person who can fly across the English Channel. But one of the participants, Percy, plots to sabotage his competitor's planes. Will Percy triumph?

Straub-Huillet’s first color film, adapts a lesser-known Corneille tragedy from 1664, which in turn was based on an episode of imperial court intrigue chronicled in Tacitus’s Histories. The costuming is classical, and the toga-clad, nonprofessional cast performs the drama’s original French text amid the ruins of Rome’s Palatine Hill while the noise of contemporary urban life hums in the background. Their lines are executed with a terrific flatness and frequently through heavy accents; the language in Othon becomes not merely an expression but a thing itself, an element whose plainness here alerts us to qualities of the work that might otherwise be subordinated.