Madeleine

Coffee And Cigarettes is a collection of eleven films from cult director Jim Jarmusch. Each film hosts star studded cast of extremely unique individuals who all share the common activities of conversing while drinking coffee and smoking cigarettes.

A terminally ill girl, who dreams of going to Finland to see the northern lights, falls in love

On the South Pacific island of Bora Bora, a young couple's love is threatened when the tribal chief declares the girl a sacred virgin.

As Alice tends to a fig tree, her solace amidst life's transience she is guided by Ida, a nurturing neighbour. Alice's journey reflects the seasons of her emotions and the cycles of growth.

Two artsy/hippie couples sharing a townhouse play head-games with each other and with a pizza-delivery driver.

Pierre Bismuth hires a private detective and a duo of screenwriters to investigate on an enigmatic artwork.

An unknown future. A boy confesses to the murder of another in an all-boy juvenile detention facility. More an exercise in style than storytelling, the story follows two detectives trying to uncover the case. Homosexual tension and explosive violence drives the story which delivers some weird and fascinating visuals.

Chicken, a desperate hippie junkie living in a small Spanish village, is finding it difficult to separate fantasy and reality. This isn't helped by the villagers practising magic and child sacrifice, or his involvement with a group of boozy expatriates lost in their own dreams and regrets.

In 1985, the artist Ana Mendieta fell naked, thirty-four floors, from the window of her apartment in New York City. The only person with her at the time was her husband of only eight months, the renowned sculptor and art world celebrity, Carl Andre. Was her fall an accident, suicide or murder? "BloodWork' is the first film to address this controversial subject.

A cinematic experience by Douglas Gordon - in which the film D.O.A. is screened simultaneously on three screens beside one another, but at slightly different speeds. The films quickly fall out of synch with one another. Déjà-vu uses footage from D.O.A. 1949-50, a Hollywood thriller directed by Rudolph Mateé. The film has been transferred to video and is projected simultaneously on three parallel screens at normal speed as well as slightly faster and slightly slower - 25, 24 and 23 frames per second (left to right). This has the effect of making the three identical narratives diverge increasingly over time, and inducing in the viewer an experience similar to déjà-vu.