Venus in Furs

Two lost souls visiting Tokyo - the young, neglected wife of a photographer and a washed-up movie star shooting a TV commercial - find an odd solace and pensive freedom to be real in each other's company, away from their lives in America.

The strange comedy film of two close brothers; one, Wilbur, who wants to kill himself, and the other, Harbour, who tries to prevent this. When their father dies leaving them his bookstore they meet a woman who makes their lives a bit better yet with a bit more trouble as well.

A young transgender man explores his gender identity and searches for love in rural Nebraska.

When motocross and heavy metal obsessed, 13-year-old Jacob's delinquent behavior forces CPS to place his little brother Wes with his aunt, Jacob and his emotionally absent father must finally take responsibility for their actions and each other in order to bring Wes home.

A manic-depressive mess of a father tries to win back his wife by attempting to take full responsibility of their two young, spirited daughters, who don't make the overwhelming task any easier.

Maria's ex-boyfriend Kristian is homeless and moves back in with Maria. Maria works as a nurse at the home of Eeva, a paralyzed writer.

Daimi is 12 years. It's Christmas, and she has tragically been left in a dark home with her only friend, a pet pig. Daimi's imagination overshadows reality. A reality she realizes with a scream. Daimi is not as alone as she thinks.

Tales of Meeting and Parting is a 1985 English language short film directed by Lesli Linka Glatter, starring Jeanne Sakata, Patricia Ayame Thomson and Patti Yasutake. An elderly Japanese man recalls his experiences as a young interpreter during a particularly brutal prisoner-of-war interrogation. The kindness he showed was unexpectedly returned following the war when he was being held captive by the Allies. The film was nominated for an Oscar for Best Live Action Short Film.

In 1976 the British Government put an end to the special category status of prisoners from the Provisional Irish Republican Army, no longer treating them as prisoners of war, but as common criminals. Mairéad Farrell – on whose life much of the film seems to be loosely based – was the first woman Republican to be refused political status in 1976. By 1980, when the film is set, Margaret Thatcher was Prime Minister and doggedly resolute: “There can be no question of political status for someone who is serving a sentence for crime. Crime is crime is crime.” Silent Grace seeks to capture the struggle for the restoration of political status that was at the heart of prison protests in Northern Ireland – not just by the more celebrated male prisoners – but by a smaller number of women prisoners, led by Farrell, at the Armagh Women’s Prison.

Emma Freese is desperate when her husband Alfred falls ill at the Howaldtswerke in Kiel. How is the family supposed to get by without their wages? The war has scarred this generation, but now things are supposed to be looking up. The workers want their fair share and are fighting for an income that also gives them room to live. In October 1956, 34,000 metalworkers in the shipyards and factories of Schleswig-Holstein walk off the job to fight for justice and their dignity. This strike is still regarded as the toughest and longest in Germany. Employers and politicians stand in the strikers' way.

Wes Thorne and Shelly Ackerman — two people living in opposite worlds. Shelly’s mother is off her medication so her home life is in shambles and she’s being bullied at school. Wes is an eccentric, wealthy man who has deep-seated issues with women and no close friends. When Wes offers to be Shelly’s legal guardian, both of their lives take a dramatic turn.