Jakub Giza

What if you could not touch each other anymore? What if you became touch-phobic? What if we became an organised, impersonal, faceless, untouchable society set up to avoid all physical contact as a rule of proper behaviour to the point of making physical interaction illegal? Zoë lives in such society and she is committed to finding what’s missing in her life by adhering to the Skinhearts. The ones who have to hide and traffic to put back in touch human skin. But will the most radical act there is in those times, make up for her need of human touch?

The Mayan doomsday prophecy looms over a dark night in Poland. A late-night radio host takes in calls from citizens expressing their concerns, predictions and speculations on what may happen when—or even if—the sun comes up. Simultaneously, a crisis centre dispatcher fields panicked calls from people experiencing real-life traumatic situations in need of immediate attention. The voices of these callers are interwoven with an intimate therapy session and a wandering taxicab to build a profile of a place where citizens want to be heard. Never showing the callers on the other end of the line, the film creates an aural overview of a darkened city. As the night progresses, the calls continue coming in, revealing the various struggles people are experiencing in dealing with conceptual fears and current woes—all in a world that soon may be over.

Alla wants to become a ballet dancer very much. It is her another attempt to be admitted to the famous Russian Waganowa Ballet Academy in Saint Petersburg. Entrance exams are extremely difficult for her. Alla needs to practice additionally to lengthen her legs since her proportions are not correct. 52% is an ideal ratio of legs to height.