A woman deals with her mother, an arts professor, plunging into chaos due to Alzheimer's.

Sónia, a badminton athlete, chases the dream of one day participating in the Olympic Games. However, an unexpected surprise will change the course of her path.

A story about passion, art and idealism. Sonia (Sofia) Dymshitz-Tolstaya survived Russia's Revolution, Stalin's purges, and personal tragedy to create the vibrant canvases that expressed her unquenchable spirit and captured the spirit of her times.

A letter to a loved one from abroad. The reaction to a piece of news and the doubts generated by it in the filmmaker lead him to compile images and sounds, questioning memory and poor communication.

The music industry becomes a battlefield when ancient strategist Kongming is transported from historical China to modern Japan. He'll use military tactics to turn his new friend Eiko into a music star, and together they'll take the party hotspot of Shibuya by storm!

Sonia is 17, queer, and living with her mother who is navigating living with bipolar disorder. We enter as Sonia is studying for an important exam, whilst constantly disturbed by her mother and her own teenage impulses.

One camera in one setting, one attic and eight young directors – the result is a unique Dadaistic collage of seven short sketches. The original task for each filmmaker was to keep each short under three minutes, to set it in one hotel room, and to include the sentence “I miss Sonja Henie." This experimental film was shot over a single night at the international film festival FEST in Beograd in 1971.

Presented in 2 parts, this 83 minute piece documents Wieder-Atherton's idea to do a set of pieces from across central and eastern Europe, including Russia. Some weren't originally written for cello, but she had them transcribed. Some were songs for voices, which goes with Wieder-Atherton saying in an earlier film she made with Chantal Akerman that she aspires to play the cello in a way that it carries the specificity of emotion of the human voice. She explains at the beginning of both parts how she feels each country in the region has it's own personality expressed in its music, coming from its individual history and culture, but that each land in the area is also 'impregnated' as she puts it, by the others, so there are certain elements that run throughout.

"Losing Sonia" shows how a seemingly rigid monastery can be a place full of life, beauty and artistic expression. Sonia, a young nun, paints icons at night and then sleeps until noon. She has a dog, cats, exotic birds, and a body that rebelled against the strict rigour of the monks. Trying to understand her and the meaning of her life choices, we come to Sonia's family, marked with the history of Russia. At the same time, the film is a journey inside the Orthodox church, showing that the deep spirituality of the nation is being reborn. „Losing Sonia" tells the story of an unusual woman who, within the walls of the monastery, is trying to rebuild the values that Russian society has lost under successive political regimes.

A comedy that tells the story of a married couple whose wife finds out the husband is gay. At the same time, the comedy voices the plights of the Latin American community – also called the “invisible community” in the UK. The film combines the sharpness of both, Latin and British humour.

The short documentary starts with Wieder-Atherton telling the story of how she came to fall in love; first with music in general, and then with the cello, and goes on tell how she found her specific style, using the music to try and almost form words of communication. It's a delightful and enlightening interview. This is followed by Wieder-Atherton playing 6 short pieces of quite different styles, from the heartbreaking melodies of Schubert and Brahms to Berio's more edgy modern sounds.

The life of a woman through the tumultuous years of Korea's modern history.

The brief love story that Sonia lived in the summer with her teacher, an older man and married in the 60's. For the autumn, Tonio travels with his family abroad, leaving Sonia with his most intimate memories. Sonia has lived in Florence, Paris and has acquired the romanticism of the interwar years she has found in books, paintings and music of the time. He has chosen to live a life apart, of introspection, away from the crowds, but always in a sensational mood.

Inspired by a real story of young girl's journey escape from the world of international sex trafficking.

Three situations about women's lives in three different periods.

Orlando (Juan Manuel Bernal) is a neurotic dubbing director of series B that desqui-ta of all your frustrations and anger with their coworkers. Orlando lives with Sonia (Mariana Gaja), a woman "new age" in quest for inner peace. He, in crisis, stifled by the love of So-nia and tempted by the novelty of another woman, can not desci-FRAR the complicated language of life as a couple of young people, and going from flower to flower revealing its inability of being alone. On the other hand we have to Mauritius (José María Yazpik), a young and awkward to relate hermit who loves and despises while René (Cecilia Suárez), a beautiful woman "postmodern"

In the last store in a defunct shopping mall, 91-year-old Sonia Warshawski – great-grandmother, businesswoman, and Holocaust survivor – runs the tailor shop she’s owned for more than 30 years. But when she’s served an eviction notice, the specter of retirement prompts Sonia to resist her harrowing past as a refugee and witness to genocide.

This rare fashion film is an exquisite showcase of Sonia Delaunay’s ‘Simultaneous’ dresses and fabrics, quite possibly made at the artist’s Parisian studio and home at 19 Boulevard Malesherbes. Dating around 1926-7 and filmed using the tricolor additive Keller-Dorian process (later also known as ‘Kodacolor cine film’), the film presents Delaunay’s geometric designs in rich colours. Having gradually shifted focus from painting to textile and clothing design in the early 1920s, and advocating the production of unique, one-off pieces, Delaunay treated her design work – and quite clearly also this film production – as an extension of her artistic practice. The film was one vehicle with which to make her case that there should be no hierarchy between fine and decorative arts (among other things, Delaunay used the film in her lectures about the influence of painting on clothing design).

In Sonia and Stan Paint a Portrait of Ronnie, VanDerBeek and artist Sonia Sheridan assemble a pastiche of images of Ronald Reagan, metamorphosed through digital computer graphics.