Withdrawl is a surreal drama that tells the story of David, a young gay man who locks himself in his apartment after his boyfriend breaks up with him due to his long-term addiction to prescription pain killers. As David suffers through his isolation with his stuffed squirrel Alvober as his only companion, he falls deep into his mind and unlocks the secret to his addiction.

2 co-workers Joke about robbing a bank until one actually does it and coerces the other as his accomplice.

Based on the writings of David Chapman and Jimmy Brennan, Withdrawal is about Jimmy, a heroin user in a Dublin psychiatric hospital. His thoughts and observations dominate, his subjective voice-over speculating on the lives of his companions. Jimmy leaves the hospital, returning to the city to reconcile with his loved ones, but his withdrawal leads ultimately to a dead end.

A home movie on permanent loop. Live action up for grabs. A family walk the walk across a field, disappearing into memory as they do. Who knows where the families go? In the countryside on a sunny day a family group repeatedly walk towards the camera. The ‘home movie’ is looped and the footage is digitally manipulated so that each time they pass, the family members steadily disappear, the landscape also appearing to 'withdraw'.

Maks, an average resident of the "sovok" area, who together with his childhood friend Zheka goes to one of the many entrances to help buddy inject a dose of heroin. The tension of fear of being noticed leads to Maks losing the syringe, after which Zheka mysteriously disappears. The usual "panelka" entrance is more and more like the other side of hell, because it turns out that getting out of it is not easy. In search of a friend, the fear inside Maks grows as he grows around paranormal phenomena and eventually leads him to his own heroin injection. Then only God.

Grief is a walk alone down an unknown path, we all wander differently. When addict Bobby Burns is forced to return to his remote family cottage after the death of his mother, he must face his loss head-on, and reconnect with his past.

If you look into the entrance of one of the huge caves on the Korean island of Jeju, it looks like a camera lens. If you walk into the cave, it looks like a screen, a rectangle showing clouds and white light, just like a film. Director Kim Minjung delves into the bloody history of Jeju, where tens of thousands were killed in a massacre in 1948. The camera follows the traces in the landscape, sometimes transformed by a strident, distance-creating red light, accompanied by a commentary by avant-garde filmmaker Hollis Frampton. Film as a means to address history and its taboos.