All Films

Alone goes in depth about motherhood and the reality of the strength of how one evolves beyond circumstances in depth of solitude anything she put her minds to she conquer

As the Shirtwaist! The Musical cast celebrates opening night, an ambitious ensemble member plots to become the star of the show.

At its heart, Vacant is about loss and grief. Not death itself, necessarily, but what comes afterwards: the strange act of continuing to inhabit a life after something—or someone—fundamental to it is no longer there. The film never reveals what the man has lost. There is no photograph, funeral, dead spouse, missing child or explicit explanation. The absence is deliberately left undefined, allowing the viewer to fill that space with something of their own. This is where the title comes from. There is an important difference between emptiness and vacancy. Emptiness is simply nothing being there. Vacancy is the awareness that something should be there, but isn't. The man's world is built from ordinary things: a table, a plate, a clock, a bed, curtains, drawers, radiators and corridors. Yet these familiar objects gradually become strange and oppressive. The clocks represent the relentless continuation of time. Loss may stop your world, but it does not stop the world. Minutes still become hours. Hours become days. Meals still have to be eaten. You still wake up tomorrow. The empty plate reflects another kind of absence: something waiting to be filled. Then there is the creature. It is deliberately ridiculous, grotesque and difficult to classify. It appears unexpectedly, disappears, reappears somewhere else, squeaks, laughs and gradually becomes impossible for the man to avoid. It isn't intended as a literal monster. It is closer to grief itself. Grief rarely behaves with dignity or logic. It can disappear for hours and suddenly return because of an object, a sound, a room or an insignificant memory. It can be terrifying one moment and almost absurd the next. You think it has gone. Then it crawls out of the drawer. As the film progresses, the man's reality begins to collapse. Clocks multiply. Plates multiply. Even the man himself begins to multiply. The ordinary structures of existence become an enormous mechanical nightmare of repetition, memory and passing time. These repeated versions of the man can be seen as the different selves produced by grief: the person who existed before the loss, the person immediately afterwards, the person who survived yesterday and the person who somehow continues into tomorrow. Eventually the nightmare reaches an impossible scale. And then... he simply returns to the table. Nothing has been fixed. Nothing has been restored. There is no revelation that cures him. Life simply continues. Except now the creature is lying on his plate. The thing that once invaded his life has become part of it. He has not defeated his grief. He has incorporated it. The vacancy has not disappeared. Something has grown into the space it left behind. The screen eventually fades to black, but the creature can still be heard in the darkness. Because grief rarely provides a clean ending. Vacant is ultimately about the peculiar experience of continuing to occupy a life in which something remains permanently unoccupied.

A young drug dealer facing a debt he cannot pay is recruited into a criminal scheme orchestrated by the enigmatic Maria. As alliances shift and betrayals unfold, he finds himself trapped in a game far bigger than he imagined.

Influencer Travelman is promoting Regen, an eco-friendly bracelet that helps preserve the planet, but the results are not up to scratch...

"Two friends meet up to complain about their awful bosses." Describes the two friends in a conflict or tension between they hated "bosses" desire for inherent meaning and a silent, meaningless universe. It refers to the condition of trying to find logic or purpose in a world that fundamentally lacks it for them.

A lot of animated street arts

In 1995, Vittoria Caprioni, a reserved woman raised in adoption, is haunted by recurring dreams set during World War II. In them, she sees Nina, a young partisan whose face feels strangely connected to her own past. Guided by an ancient golden pendant, a Presentosa she has always considered a talisman, Vittoria returns to Giulianova, where she discovers a forgotten diary and a photograph revealing Nina’s true identity. Her journey between past and present unveils the story of a pregnant partisan woman who fought alongside other brave women during the Resistance. In a hidden cellar, a child was born who would change many lives forever: Vittoria herself. Through memory, sacrifice and a mother’s love, Vittoria finally discovers her roots and the truth of her identity.

অপ্রত্যাশিত (Aprottashito - Unexpected) is a Bengali crime thriller about Krishnendu Som, a driven screenwriter who accepts a high-profile project and slowly gets entangled in the manipulations of a powerful producer. As creative control slips away, personal pressures mount and the boundaries between fiction and reality begin to blur. The story unfolds non-linearly and culminates in a quiet, symbolic ending emphasizing consequence over spectacle and asking how much of our lives are truly our own stories.

After his girlfriend says she's not ready for marriage, an impatient man makes a wish at 11:11 for her to understand how deeply he loves her. But when he finally proposes, his innocent wish is fulfilled in the most horrifying way imaginable.

My Corolla is a humorous yet thought-provoking commentary on the consumer society and the psychology behind advertising. In a world where we’re constantly bombarded with ideals and images that promise a perfect life, we’re encouraged to buy into these fabricated dreams without ever questioning them. The film explores how blindly following social trends can lead to living a false image of who we are or who we want to be. In My Corolla, a mad scientist in a creepy lab literally plants a seed into the victim’s head. The next thing we know, the main character finds himself inside an advertisement, living out a very unusual dream. This darkly humorous film explores the influence of advertising and the strange, surreal paths it can lead us down. At the heart of the story is a fictional lab named "Seed"—a metaphor for the advertising agency—where ideas are planted in people's minds. In the real world, this process is metaphorical, but in the film, it’s literal. Once the "seed" is planted, you're on a predetermined path to live out the image that’s been sold to you. Through this piece, I’m shining a light on how easily we can be manipulated into following trends, with a humorous twist that reminds us all to question the "images" we’re constantly striving to live.

A beatnik just has to be himself, man.

In 1944, the Swedish prince, Carl-Johan Bernadotte receives a visit from Hungary...

When a reforming ex-con attends a pretentious one-man fringe performance based on his degenerate past, he discovers there is much he can learn from the audience of posh crusty eejits.

Margo is a young lady searching for a piece of peace in a huge NYC. Will she face her fears and real needs to find what she is looking for?

After a drunken joke about murdering Cindy’s cheating husband spirals into a very real plan, best friends Cindy and Michele uncover that he’s not just unfaithful—but embezzling company money through his mistress. What follows is a tense, darkly comic night of kidnapping, blackmail, and near-disaster, ending not in murder, but exposure. As the man who underestimated them is led away in handcuffs, the women walk free—having learned that paperwork can be deadlier than violence.

In desperate hope, the scientist Ohwee uploads her mind into Shugo, the guardian who took her daughter. What she doesn’t know is that she has already lost.

A Haunting is a short experimental film exploring ancestral presence, identity, inheritance and selfhood through the idea of haunting. Drawing on Avery Gordon’s concept of haunting as the persistence of what appears absent, the film considers how ancestral memory, cultural knowledge and inherited histories can continue to shape the present. The film features my father's voice speaking in Etsako, my mother tongue from the Afemai region of Edo State, Nigeria. For me, hearing a language I recognise but can no longer fully understand creates a tension between intimacy and distance. His voice becomes a carrier of something inherited, while the language itself evokes what has been lost. The ceramic masks in the film are an extension of my practice into ceramics, and I also perform in the film. I created the masks to think through ideas of identity, ancestry, and the parts of ourselves that are inherited but not always visible. Worn on the body, they become a way of questioning what we reveal, what we conceal, and what might exist beneath or beyond the self we recognise. The film emerges from my own questioning of ancestry, spirituality and belief, particularly the tension between my Catholic upbringing and my growing engagement with ancestral ways of understanding presence and inheritance. A Haunting embraces uncertainty and asks what it means to feel the presence of something that cannot be fully seen, recovered or explained. Through image, sound, performance and masks, A Haunting explores how memory, language and ancestry can linger in the present, revealing how what we inherit can remain both intimate and distant. A Haunting was shot in Aberdeen, Scotland

At a decadent underground swingers club, a timid husband begins to unravel as his wife dives headfirst into a night of erotic freedom.

Every monster has an Origin.

In a city where cruelty has become casual and looking away is easier than caring, a mysterious young woman walks through the lives of strangers with a lollipop in her mouth and an unsettling calm in her eyes. She watches. A man humiliated for being different. An old soul forgotten on the sidewalk. A cashier trapped behind a counter. Small moments of intimidation, indifference, and fear—the kind the world has learned to ignore. But she doesn't ignore them. With a simple snap of her fingers, the balance shifts. *Last One* is a dark, surreal short film about the quiet choices that define us: who we protect, who we abandon, and what happens when someone finally decides that enough is enough. Because sometimes the most dangerous person in the room isn't the one making the most noise. It's the one who has been watching the whole time.

In a dystopian world inhabited by giant living toys, Lore lives with her plush cat. One day she finds a small note with a mysterious drawing and decides to follow it, beginning a surreal journey between solitude and hope.

An annual friends trip to a cabin in the woods turns into a bloody mess when a secret is revealed.