Jeg er bare den logerende

After a new cannery introduces scientifically augmented salmon to a seaside town in the Pacific Northwest, a species of mysterious, mutated sea creatures begin killing the men and raping the women.

The Soong family was a political dynasty in China that reached the highest levels of power. This film follows the lives of the three Soong daughters, who were educated in America and returned to China. Ai-ling married a wealthy and powerful businessman. Ching-ling married Sun Yat-sen, the revolutionary founder of modern China. Mei-ling married Chiang Kai-shek, China's leader during World War II. The sisters captured the world's fascination for their brilliant marriages and their strong influence on their nation.

An adventurous love story between two young women of different social and economic backgrounds who find themselves going through all the typical struggles of a new romance.

A collection of film clips from horror movies and interviews with the actors and directors who made them.

A personal journey in search of two grandfathers: Remo, a self taught Ecuadorian doctor who wants to discover immortality, and Juan, communist militant who was assassinated during the Chilean military dictatorship in 1973. A granddaughter who grows between exile and a magical universe. Two stories, a close one and a buried one. Two dreams reflected in two landscapes: one with leafy mountains; the other, arid and deserted.

Home video footage shot by Maureen Gosling during the filming of Les Blank's feature "A Poem is a Naked Person".

Senya, a young hunter, hunts for two wolves that have been preying on sheep of various farms in Siberia. Kira Muratova and husband Oleksandr Muratov's diploma film.

After returning home from an extended tour in Afghanistan, a decorated U.S. Army medic and single mother struggles to rebuild her relationship with her young son.

Mirrored Measure features two women separated by a generation. The older woman ceremoniously lays a table – she repeatedly spreads a cloth and smoothes it out. The table is set and glasses and jug filled with water. A balanced and controlled ritual follows in which the jug is passed round and water is repeatedly sipped. Water becomes the lens through which we see and the medium through which the protagonists connect. The sense of connectivity is abruptly severed when the first glass tumbles.

Swollen Stigma nourishes the fantasy of its protagonist’s inner life and proposes a lesbian imaginary which takes leap into risk and displacement. The film opens with an entranced seated woman working her fingers through a single strand of hair and proceeds to explore her lived imaginary in which desire and fear interlace. She re-visions different moments in time which are haunted by an absent lover. Like a playful fairy princess, this lover appears upside down in an armchair, hanging legs-down from the ceiling, playing dead on the floor, or eating roses; her body continuously permeates the woman’s reality. The film’s shifting points of view jump between the protagonist, fantasy spaces and her lover, making an internal world leak into what is external with the fluidity of blood into water.

Cast creates a claustrophobic and haunting space where people and things invade worlds in which they do not normally belong. Lifeless dolls are heaped inside drawers, dolled-up life size figures lie motionless on a windy beach at the water’s edge; a chair rocks in an empty room, a mirror reflects and observes, and a chest of drawers is caressed by the sea. The film has a dramatic sensibility that sets up a false promise of narrative. Its structure, instead, is akin to that of dreams where different scenic spaces collapse and the inanimate and animate interchange. Wide-angled perspectives, shifting points of view and juxtapositions of sound and silence force inner and outer realities to collide, creating an unsettling psychic world.