Tiene la tarde ojos

In the year 2204, the Earth has become a dystopian wasteland. In order to maintain strict population levels, any newborn is only permitted to live if another person's life is traded in and a receipt issued. Edward K. Wehling, Jr. sits in Chicago Lying-In Hospital waiting for the birth of his triplets, except he has no receipts to collect them.

The short film was made from material shot for a Levi’s commercial on which Gus Van Sant was given complete freedom. Van Sant delivered the ad, and separately made his own short film; one that feels complete in and unto itself. Preserved by the Academy Film Archive in 2016.

A group of Swedish tourists are on the way to a Russian village to witness the so called 'Festivity of Neptunus', in which the inhabitants take a dive in a hole in the ice. This tradition, however, does not exist at all. The inhabitants try to make a good impression by starting the 'tradition' to please the tourists.

Loving but irresponsible dad Daniel Hillard, estranged from his exasperated spouse, is crushed by a court order allowing only weekly visits with his kids. When Daniel learns his ex needs a housekeeper, he gets the job - disguised as a British nanny. Soon he becomes not only his children's best pal but the kind of parent he should have been from the start.

A couple is stuck in an escape room, and a failing relationship, with no way out.

Clouded by so many violence in entertainment, two boys couldn't differ what's okay and what's not.

On the night before the LGBT + Parade, Gabriel is faced with unexpected visits to his apartment, leading him to confront his own role in his home, family, and country.

In a realm beyond the senses, plants interact with surreal cinematography to chart the course of our character: an entity said to embody the life and work of Felisberto Hernández, Uruguayan father of magical realism. Through this journey, we are confronted with an open-ended experience questioning the nature of musicality versus cinematography, entity versus aberration, and self versus space, in a self-referential, blurry, digital and mystical setting.

Iara, a girl who is about to come of age, dreams of seeing the ocean, but lives in Rio Grande do Norte's countryside with her mother, a woman who's dreams were swallowed by the waves and who fears of losing her daughter.