In this Seattle-set police thriller, a police detective tries to bring a band of adolescent arms dealers to justice. He manages to capture one, but he is under-age and cannot be prosecuted as an adult. Meanwhile someone is quietly slaughtering the youth's gang mates, leaving the police detective to try to save him from the same fate.

A pair of summer and winter weekends intertwine in a series of flashbacks involving five friends. Their dreams and expectations overlap with memories of events that took place in the house that they are sharing, which has a particular significance for all of them.

Strangers meet on a cross-Canada flight.

“Past Perfect” is a spirited meditation on the elusiveness and inaccessibility of (Jewish) history as conveyed through sightseeing tours of “Jewish” Poland, a grandmother’s recollection of life in America during War II, and memoir-like “last moments” of a great aunt believed to have died in Treblinka. Shot almost entirely in contemporary Poland, “Past Perfect” lyrically portrays the relentless yet ultimately futile attempt to resuscitate a history literally gone up in smoke.

Many cities or countries have a distinct malaise. They are places that could be Portugal, so sunk in a painful longing of the past, and where each tension of the present is only the tip of an iceberg that is explained in successive retreats that can go straight until origin of the species, at least. This feeling common to many latitudes is often presented as a diagnosis, a denial of a painful present as opposed to the desire to return to a glorious past.

In high school, Shantal (2003) experienced the pangs of first love after she met Sir Daniel, her Filipino teacher. Fast forward to the present, Shantal (2018) now pursuing a career in writing, gets the biggest surprise of her life as she crosses paths with Sir Daniel once again in their high school reunion. Has the time already come for Shantal’s unrequited love to be reciprocated by the man she admires the most? Will the perfect love she dreamt of ever come true?

Richard Dreyfuss-directed short film.

a quiet autumn night in tokyo. a man stops his car at a shop front with a number of vending machines to get a last drink of tea on his way home. he inserts a coin, but instead of the usual procedure, the machine starts performing its own peculiar performance...

Frames 20th-Century ideologies and dreams of liberation, using found footage. The film presents an account of the period between 1932-1985, juxtaposing two different films in a montage format. One, 18mm home footage of an unknown Danish family, taken before and after WW2. A deadpan camera registers happy holiday moments, the Berlin Olympics (1936), and the World Exhibition in Paris (1937). Secondly, and with the same lack of involvement, we see the liberation of Denmark in May 1945. The second film is a first generation erotic movie, shot in 1972, showing a student's party developing into carnality, reflecting the liberating promises of this newly legalized pornography. The entire montage is accompanied by and interview with Charles Manson, who projects his messianic views from his prison cell. Through its anti-dramatic slide from normality to perversion, the film implicitly challenges the 20th-Century welfare state's promise of freedom to its citizens.

Juliet, a beautiful doctor, has found the perfect New York apartment to start a new life after separating from her husband. It's got spacious rooms, a spectacular view, and a handy, handsome landlord. But there are secrets behind every wall and terror in every room as Juliet gets the unnerving feeling that she is not alone.