Smith
Worex
Kommandant Levid
Raumlotsin
2002-01-01
0
A husband's attempt to keep his sleepwalking wife from injuring herself descends into chaos as he discovers she may be in the grips of mind control.
A young woman’s fiercest self takes over to fight for her life when she’s attacked in this taut thriller from up-and-coming filmmaker Catherine Fordham. After waking up and noticing bruises on her body, the woman flashes back to last night’s perilous journey home. But as full memory of the attack she experienced comes back to her, we soon realize our heroine turned the tables in a surprisingly scary way. Fordham’s effective twist on the rape-revenge thriller marks her as a forward-thinking horror maker with a unique perspective in a historically misogynistic genre.
Remember those origami fortune tellers you made as kids? They're not what you think.
In the late hours of Halloween, a mother and her young daughter are haunted by a terrifying clown that lives in their tv.
Far in the future, a woman wakes up in an escape pod on the surface of an empty alien planet dotted with the remains of an ancient alien civilization. Faced with isolation and the threat of death from the toxic night air, she must travel across the barren landscape and find a way to send a message home. She copes with alternating emotions of hope and loneliness and encounters semblances of human presences that push and pull these feelings within her. All the while she is overshadowed by the immense monolith on the horizon, a leftover of the alien civilization that existed on the planet countless years before. Her journey transforms over time, evolving from a focus on her character in the face of impending death to a study of absence and presence, transience and endurance. Her journey towards the crash site and the giant monolith becomes a race against time as she seeks a way to leave her mark and not be forgotten.
The Seven Deadly Sins - Are they true to being called sins or are they simply human impulses? To what is a sin and what is not? Such is a question worth pondering. In the end - do as you wilt.
Deep into the night, a lone office worker must contend with an ominous presence.
Humans use technology to improve their lives, to forge connections, to create time that doesn’t exist, to replace real interactions. When we devise a second version of ourselves on social media, do we lose a piece of our true selves in the process? Do our digital connections threaten our real life relationships? What happens if the filtered characters we’ve imagined take on a life of their own?
A young woman, Lucy, receives a message of a girl friend of hers, whom invites her for a Webchat. After a while, her friend begins to get undressed on her Webcam. Intrigued, Lucy looks and is caught at the game, in an erotic and quite disturbing atmosphere.
A young woman comes home late night on public transportation and puts herself in a precarious position where she comes across an urban legend that may be true.
A Twilight Zone-inspired cautionary tale about a young mother forced to come face-to-face with her deepest desire.
A papercut stopmotion animation in which human Travelers from 2053 travel 30 years into the past to warn "foundlings" of the future that awaits them. The story follows Jonah and his Traveler, learning about the possible chaotic future that could happen if such measures are not applied.
A man squares off against a demonic entity in regional Western Australia.
Mikael is a lonely farmer who lives alone in a small cottage on the country side. One day a woman falls from the sky and down on his meadow.
Filmed only a few months after Tatsumi Hijikata’s first explosive public butoh performance, “Gisei” features Hijikata and members of his Asbestos Hall Troupe in a brutal allegory of a closed society. Shot by noted Japanese film scholar Donald Richie, “Gisei” still conveys the shock that Japanese audiences in 1959 must have felt at the birth of Hijikata's ankoku butoh, or "dance of darkness". Richie met Hijikata through mutual friend Yukio Mishima. They decided to collaborate on a film about segregation. Richie memorialized the film in his diary: “It is more than ever about the death of an individual, a distinct kind of human sacrifice.”