Tim Roza

A soldier, which army, which era, unclear. What’s clear is the evil he’s done. Faced with his impending mortality, he fears being judged in the afterlife. Only immortality will do. He meets a talking rock who promises just that - but he’ll first have to face his fiendish deeds...

In a world where cities are becoming more important than countries, Rotterdam, Liverpool, Marseilles and Naples could form a 'cities gang'. All four are working class, multicultural and internationally oriented, and have been influenced significantly by urban planning and nineteenth-century and modernist urges to demolish. They share a clichéd sense of inferiority and often top 'the wrong charts'. They are currently undergoing an international re-evaluation, including ongoing processes of gentrification. Their shared characteristics could form the basis for a gang of cities capable of taking on the world. Or even showing the world how it could be done.

In a world where fantasy meets reality, Tengkwa leads a band of Dutch wrestlers and tries to train a new generation of superheroes. With slim chances of fame and glory, only the most die-hard of them will succeed.

Worlds collide in more ways than one in this stunning collection. Confidence is violated, classes clash and desire is concealed, yet love still triumphs regardless of the consequences.Boys On Film 14: Worlds Collide features nine new, powerful, and dramatic short films: Lee Haven Jones's "Want It" starring Jamie Cutler and Alan Turkington; Sophy Holland and Alicya Eyo's "Brace" starring Jake Graf and Harry Rundle; Mauro Mueller's "A World For Raúl" starring Alexandré Barceló and Adrián Alonso; Dennis Shinners's "Barrio Boy" starring Dennis Garcia and Dan Leonard; Darwin Serink's "Aban + Khorshid" starring Mojean Aria and Bobby Naderi; Jan-Dirk Bouw's "I ♥ Hooligans"; Christopher Bradley's "The Violation" starring Slade Pearce, Elaine Hendrix, and Shayne Topp; Rafael Aidar's "The Package" starring Jefferson Brito and Victor Monteiro; and Søren Green's "An Afternoon" starring Ulrik Windfeldt-Schmidt and Jacob Ottensten.

Технологии будущего настолько совершенны, что изменить можно не только внешность, а также черты характера. Это не пластическая хирургия, а торговля жизнями. Клиент арендует жизнь другого человека. У Слейтера нет выхода, он в тупике. На хвосте полиция, обвинившая его в убийстве, а девушка, как две капли воды похожая на Надю, мертва. Герой решается взять себе другую личность, не понимая чем это грозит. В один прекрасный день он снова встречает Надю. Они еще не знакомы, но никак не могут отделаться от чувства, что знают друг друга всю жизнь.

A football hooligan feels unconditional love for his club. However, being gay, he has to hide his identity in order to survive in this world that is so precious to him.

Rotterdam 2040 is a film about the city’s future, departing from the principle of Gyz La Rivière that you can’t look ahead without considering your past (something that hasn’t always been Rotterdam’s strongest feature). At high speed, La Rivière reconstructs the history of Rotterdam from the time before the bombings until now, and expands the developments to the year 2040 (100 years after the bombing and the 700th anniversary of the city). La Rivière made a specific choice to expose his personal vision, which is sometimes radical or a little absurd. So no experts and no talking heads, but an assault of old and new imagery, held together by La Rivière as the narrator of the film. Although Rotterdam 2040 deals with architecture and urban renewal, it is actually a film about people. The subjective experience of the city by its (future) occupants mainly determines the parade of architectural blunders and suggestions for the future. All tongue-in-cheek of course.

The seventeen year old Stach is faced with five impossible assignments he has to complete in order to become king. Things do not go as easily as the boisterous Stach had expected, especially when he is confronted with matters of life and death.