APT 17 (2019)

A down-on-his-luck dentist of the Wild West is held up by a gunslinging crook, or so it seems.

An experimental exploration and celebration of the Juggalo subculture in Buffalo, New York. Long and static takes of Juggalos engaged in their favorite activities, first and foremost of which - causing mayhem. Among these seemingly random acts of the everyday, preening, sexual gratification, backyard wrestling, explosions and destruction, a tentative narrative begins to emerge.

A short comedy about riding the elevator.

A young African boy with a haunting back story starts school in Ireland, and finds out quickly exactly what it means to be the new kid. Winner of Best Narrative Short at the 2008 Tribeca Film Festival and nominated for an Oscar.

Some time after marrying a sensual girl, Pozdnychev realizes the only link to his spouse is that of physical love. When a violinist with whom his wife plays regularly the “Sonata to Kreutzer” appears, the young woman blooms in a new passion. From then on, her husband is eaten away by jealousy.

Ardal Travis is in love. There’s just one problem. He’s an 8 year old schoolboy and the object of his affection is his Second Class teacher, Miss Purdy. But when her boyfriend arrives on the scene Ardal is heartbroken. His reaction, though, is a little unexpected. He challenges Miss Purdy’s boyfriend to a duel. To the death.

A deaf 4-year-old girl named Libby lives in a world of silence until a caring social worker teaches her to use sign language to communicate.

An official adaptation of the award winning game "Papers, Please" by Lucas Pope.

When actor David Harbour finds lost footage of his father's disastrous televised stage play of a literary classic, he uncovers shocking family secrets.

The activities of rampaging, indiscriminate serial killer Ben are recorded by a willingly complicit documentary team, who eventually become his accomplices and active participants. Ben provides casual commentary on the nature of his work and arbitrary musings on topics of interest to him, such as music or the conditions of low-income housing, and even goes so far as to introduce the documentary crew to his family. But their reckless indulgences soon get the better of them.

Produced out of Harvard's Sensory Ethnography Lab, Laura Huertas Millán's quietly masterful La Libertad follows a group of matriarchal weavers in Mexico, formally mimicking the examination of an object through subtle shifts in scale and space.

A film of a sloth, using three-colour separation to show sloth time.

Dilara decides to go out that night. Although not having any issues with her existence till the day, Dilara starts finding flaws in herself after she was faced with a barrage of criticism from her flatmate Kübra about her apparel as she was getting ready to go out. Questioning and comparing herself with any woman she comes across or any woman embedded in her mind for any reason continuously drives Dilara towards a damaged self-esteem. A surprise ending awaits Dilara who gets back home late at night, exhausted with all these thoughts.

Selamet, who is working at the old central of a company which is on the eve of moving to a big center, tries to make his life similar to a stranger on the phone by discovering his closeness to that person.

A fourteen-year old girl communicates with a spider in a dark basement, without knowing the time and place.

This movie is a collection of portraits of residents of Russian countryside. Not a single word. Only long look into the camera. Landscape. Flow of time.

It's getting late on a Friday night and Ralph is keen to get out of the office, but the boss won't let him. No big deal, right? It's just that the full moon is rising and Ralph is a werewolf.

Ydessa Hendeles' exhibition entitled "The living and the Artificial" (consisting of works of art all comprising a photograph of living persons in the company of one or several teddy bears) had puzzled Agnès Varda so much that she decided to go to Toronto where the artist lives and interview her. In front of Agnes Varda's DV camera, Ydessa tells about the singularity of her artistic approach. She also expresses herself about the Holocaust, which both her parents survived.

Sait lives with his family in Diyarbakır. Her daughter Hacer is abandoned by her fiancé Jesus. Sait, who cannot accept this situation, sets out to search for Jesus, who is also his former apprentice. Sait confronts some facts after a while.

Unpredictably, as most of my life’s key events have been, for a period of several years of late sixties and early seventies, I had the fortune to spend some time, mostly during the summers, with Jackie Kennedy’s and her sister Lee Radziwill’s families and children. Cinema was an integral, inseparable, as a matter of fact, a key part of our friendship. The time was still very close to the untimely, tragic death of John F. Kennedy. Jackie wanted to give something to her children to do, to help to ease the transition, life without a father. One of her thoughts was that a movie camera would be fun for children. Peter Beard, who was at that time tutoring John Jr. and Caroline in art history, suggested to Jackie that I was the man to introduce the children to cinema. Jackie said yes. And that’s how it all began