Submarine spirits of monsters and demons, soldiers and sailors, pirates andwarriors, slaves and serpents, skulls and skeletons.

In search of her roots and family house, the author travels to Kosovo, looking for answers to eternal questions: who I am and where I come from.

The film is mainly based on slides from the horticulturist and life philosopher Anders Björnsson's garden along the northern Klarälven River in Sweden. The film is an early attempt to portray our threatened relationship with ecology. The tableau-like still images underline the shifts of light and the biological cycle.

As point of departure French calendar holidays and traditions symbolised by a vegetal emblem, such as roses for Saint Valentine's Day. Ecologically absurd, the flower industry is also the terrain for an imbalanced North/South relationship, with the plants massively sold in cities of the North often sourced from the countryside of the South.

Sachiko was a stewardess when she met Masao, who often worked overseas, on a plane, and through that, she married Masao. Of course she was a virgin. Her newlywed life with the wealthy Masao was nothing short of bliss. However, although Masao pretended to be a serious husband in front of Sachiko, Masao, who was originally passionate, was not satisfied with just his virgin wife...

In the dream I had one early morning in 2014, I was sitting in the backseat of a car. The driver suddenly turned to look at me and said: Why aren't you filming? It was my second elder sister who had already passed away. After her death, I began to keep a diary and take pictures. When I got a video camera, I began to film the daily life of my family. I filmed out of the fear of death and loss. The idea was to capture everything on film before it disappeared. 2015 was the 20th anniversary of my sister's death. That dream seemed to tell me to face her death. Death did not stop the passing of time, and the family members I was filming continued to avoid their grief which hadn't subsided with time. Birth and death continue to alternate in our lives, and we are always getting ready for the day when we must say goodbye.

The second film of the Pandemic Trilogy, “Why Am I Still Here Then?” is a sequel to 61 Street No 4, and it makes the audience experience the unconscious reflection of the Other who entered in the previous film. The monologues throughout the film emphasize the character's feeling of being stuck and her confrontation with the unconscious. As a result of the confrontation, the audience is left with a mind ready to be completely liberated. Experimental narrative, creative montage and sound design come to the forefront in “Why Am I Still Here Then?”, and it narrates us understanding and accepting our unconscious.

Makoto Kitano reports on real-life ghosts and psychic phenomena!

Tokyo Joshi Pro presents Yes! Wonderland 2021 from Korakuen Hall in Tokyo, Japan. In the main event, Rika Tatsumi defends the Princess of Princess Championship against Miyu Yamashita.

An experimental short that plays with folklore to discuss socio-political issues within the Socialist Republic of Yugoslavia.

In Haren Das: 21 Studies of Life, Amit Dutta portrays the remarkable ability to infuse static images with vivid life, giving an immersive experience to Das’s printmaking, wood engravings, etching, and linocut, used to capture landscapes, seascapes, and flora and fauna indigenous to the Bengal region.