Two women, one house. An intimate story about a Pole and a German placed by war on enemy sides and their parallel lives accidentally brought together. The film reflects on the concepts of invaders, victim, guilt and forgiveness. It confronts different experiences and their paradoxical similarities. It deals with the controversial subject of the post-war accountings. The visual narration is flowing, guided by memories and archives. Traditional documentation confronts experimental use of archival footage in the cinematic impression about displacement.

This film centers on the construction of a traditional style house, their houses being not only very distinctive but also figuring prominently in religious ritual. The houses were rectangular and pole-framed, thatched with Miscanthus or bamboo-leaf; the doorway was protected by a skin or woven hanging and various parts of the house, such as the hearth and a window on the eastern side, would serve ceremonial purposes.

This is not horror video. This video was created simply by filming inside my house.

This is a film about the strangely idyllic time we had during the first UK lockdown, and the media we consumed.

Once upon a time there was a house that did not bother anyone, but there were always residents to complain.

Yoriko wanders in a forest and ends up in a mansion where a man who studies parasites and his three daughters live. Yoriko learns from the girls' mother that she looks exactly like her, and she is asked to work as a housekeeper and begins living at the mansion, but...

An autobiographical drama adapted from a book by Anna Maria Scicolone. Loren is the illegitimate daughter of Riccardo Scicolone and Romilda Villani, a sharp but calculating woman still reeling from the pain of a missed shot at movie stardom. Now facing single parenthood, Villani manages to rise above circumstances, but transfers her own broken dreams to the young Sophia, relocating to Rome and using the girl's delicate beauty to draw the attention of the film and modeling worlds.

A follow-up to Nenek Lampir ("The Possessed Grandmother"). Rusimini is possessed by the spirit of her baby that she abandoned after birth and finally dies a tragic death. Her "imperfect" death (without peace) is used by the devil to wreak havoc. People are influenced to commit sin and then murdered, as if that is the only way for a "perfect" death to be achieved. To stop the wave of evil, Kyai Abdullah, a religious teacher, arrives to drive away and placate the evil spirits with peace.

Ayako Miyafuji, a rookie actress, was taking part in a film shoot at a countryside mansion. However, due to nervousness, she is unable to perform well and is abused by the director, Sendo. Mayama, a recording engineer, is worried about Ayako and treats her kindly. With little time to spare, the filming proceeds in a bleak atmosphere, but then Ayako sees a hand behind a sliding door that is not supposed to be there....

Chinese horror movie from 1948.

The Xining Public Housing complex in Taipei, built in 1983, houses more than 1,000 residents. Tsai Ming-liang filmed his first television drama and his feature The Hole (1998) here. Tsai Ming-liang quietly observes the complex, set to be demolished soon, and the daily lives of its people.

From Brazzaville to Barcelona, a journey around the world in search of unique and diverse voices with the purpose of celebrating the collective dimension of life through words, music and the movement of bodies.

Straight to video horror/comedy directed by Minoru Kawasaki

Miku (Yui Kawagoe), who is deep in sex, was a virgin without connecting her lover Otake and her body. There was always a undershirt woman beside Miku. In fact, the undershirt woman was Miku's aunt, the spirit behind her, and she who lived in the Edo period was a sexually greedy and free-spirited woman. However, such a personality was so bad that he was not blessed with a man, and he came down to the present life to fulfill his feelings of pleasure through his offspring Miku. One day, Miku, controlled by the aunt of the spirit behind him, invites Otake to the night of his first experience, but when he reaches a good place, he gives up because of the pain. Then, Otake gets angry when he gets angry, and the two become catastrophic ...

Yasemin hits her sister's face with the comforting lie they believed at her uncle's funeral. He knows he cannot heal, so he will stop treatment and will not torture himself. The sister, who refuses to accept this, realizes that she is struggling with the sense of ownership after a while. Her dilemma will be resolved with Yasemin and her relationship with the cactus they picked up from the funeral home.