兩個小孩半夜醒來去尋找消失的父親，所有家裡的窗戶和門都已消失....
A family decides to visit their clan God to cure their daughter, believed to be possessed but in fact is in love with a man from a different caste. The journey accompanied by her betrothed, unveils tensions between tradition and personal freedom, exposing her silent rebellion.
A teenage skateboarder becomes suspected of being connected with a security guard who suffered a brutal death in a skate park called "Paranoid Park".
女中學生小尚（池上季實子 飾）迎來了快樂的暑假，當發現獨身8年的父親（屜澤左保 飾）交到新的女朋友（鱷淵晴子 飾）時，她拒絕和父親前往輕井澤旅遊，而是和6名同學相約前往香麗姨媽（南田洋子 飾）的莊園度假。 姨媽年輕時曾和俊朗的青年（三浦友和 飾）相戀，但太平洋戰爭奪去了愛人的生命。從此香麗姨媽孤身一人，畢生等待愛人的歸來。 小尚她們的造訪令孤獨的姨媽分外高興，這群青春活潑的女孩在山中盡情玩耍。然而，姨媽和莊園似乎隱藏著某種可怕的生物，少女們一個接一個地消失了.....
好萊塢知名女星妮琪鄰居不預期的來訪，告知她將獲得開拍新片的主要角色，但這部影片的開拍，將會導致不祥。第二天，妮琪果然獲得參與新片《On High in Blue Tomorrows》的機會。影片開拍排戲當下，她才瞭解這部新片為一部未完成的影片重拍。改編自波蘭吉普賽的傳說，片名為「四七」，也可說是咒語，而最終無法完成的理由，是男女主角在影片拍完前夕神秘地慘遭殺害。 妮琪不久後就發現自己被有女人殺手之稱的對手戴文所勾引，如同戲裡她所飾演的角色蘇。也許她真正身份是蘇，妮琪只是她的分裂角色，也許她只是為了逃避他危險的丈夫…如同《穆荷蘭大道》裡的女演員貝蒂一般，妮琪也在恐懼之中跌入如夢魘般的迷宮，演出自己在不同的劇本裡演出另一個角色。貝蒂的夢境與真實之間的狀態也許還有跡可尋，而這個分界點在妮琪的身上則無法辨識。
Bud Clay races motorcycles in the 250cc Formula II class of road racing. After a race in New Hampshire, he has five days to get to his next race in California. During his road trip, he is haunted by memories of the last time he saw Daisy, his true love.
In the seedy domain of Miami’s criminal underbelly, a seasoned hitman embarks on the relentless pursuit of his next target.
Gay, alienated Los Angeles teens have a hard time as their parents kick them out of their homes, they don’t have money, their lovers cheat, and they are harassed by gay-bashers.
Two robots embark on a quest to become human.
一位30多歲的紐約猶太婦女在臥室裡練習虐戀的藝術，並在工作和家庭中嘗試駕馭支配與臣服的動態關係。
An ultra-realistic, multiplayer FPS game follows a group of mercenaries using baby faces as avatars. Tasked with entering mansions of the rich and powerful, players must explore every rabbit hole before time runs out.
Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both literally and allegorically, together with an exploration of the meanings associated with the colour blue.
Engine materializes Liz Harris’s self-confessed obsession with engine sounds from cars and trains, and noise explosions heard at drag races. For Harris, that is the sound of excess, power, sex, destruction, capitalism, and oil becoming an airborne pollutant. All the same those are the sounds of transformation, from which comes life. With an original film by Takashi Makino shown in the background, Engine is a large stage machine of guttural bass tones and constant revving up that mimics our heartbeat and breathing, and pumps the blood in our veins.
Themes of death, rebirth and mythology combine in this compilation of subversive and surreal experimental US films.
In this short experimental film, three friends are waiting for their train to arrive.
In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.
Born in 1981, Roman was a brilliant young man, promised a bright future but he died crushed by a car in 2015. His friend Eugenia could not accept this disappearance and decided to create an “intelligent” chabot. Feeding it all his texts, the software learned to speak like him thanks to an artificial intelligence.
Cracking open the human-camera body.