Black Sabbath: Live in Paris(1970)

Bon Jovi | When We Were Beautiful(en)

A documentary filmed behind the scenes of the Bon Jovi's Lost Highway tour in 2008.

The Seventh Page(es)

Chronicle of the daily activity of a newspaper called La Jornada. Through the events covered by the gossip columnist that occupy precisely the seventh page, a portrait emerges of different classes of Spain in the 50's and a vision of reality where facts are mixed comedy, police, emotional, dramatic and even tragic.

Carmen on Ice(de)

Carmen is an opera in four acts by the French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on a novella of the same title by Prosper Mérimée.

Conservatorio: Juventud y Rebeldía(es)

Mexico does not have the necessary social and governmental support for those who study arts, specifically music. With the help of two saxophonists we enter the life of musicians in Mexico, as well as discover the reason why they decided to study these careers, something that would seem a daring on their part, but perhaps it is what is needed in Mexico

The Accident(it)

After being fired, Marcella, a gentle hearted mother going through separation, buys a tow truck; she gets trapped deeper and deeper in a cynical and aggressive world until a terrible opportunity shines in front of her.

The Demojordan(en)

A frightening creature from unknown depths rises to attack a lone teenager.

The Rocket(el)

After being called a liar for years, Stathis is forced to gather all his friends and take them to a top-secret location to prove the existence of a supposed rocket (that only he knows about). If he doesn’t show the rocket, he loses all his friends.

Freehand(es)

A lonely woman, although surrounded by her children, quickly drives her car to a destination out of control.

Small Lights(de)

Meet Me Tonight(en)

Meet Me Tonight was the American title for the British-filmed Tonight at 8:30, adapted from the Noel Coward stage production of the same name.

Moonshine(en)

A Lloyd Hamilton slapstick comedy directed by Charley Chase.

O Cinema é Minha Vida(pt)

In the dressing room of the French cinema, minutes before attending a lecture, François Truffaut recalls his trajectory

Karla & Katrine(da)

Karla invites Katrine to spend the holidays with her, hoping they might become best friends. As it turns out, nothing goes as planned. Karla meets Jonas and falls in love for the first time, and she nearly forgets all about Katrine. However, the two girls are forced to put their difficulties aside for a while, as they join Jonas in exposing a local gang of thieves.

The Railway of Death(fr)

When gold is discovered the first man there gets to stake his claim. Joe and another man race each other, which involves a thrilling episode on a train.

We Are Here(en)

A man is lost in the memory of his wife and the last good day they spent together.

The Complex(en)

After a major bio-weapon attack on London, two scientists find themselves in a locked-down laboratory with time, and air, running out. With choose-your-own-path style gameplay, your actions and your relationship with other characters will lead you to one of eight suspenseful endings. Having treated the victims of a chemical attack in the totalitarian state of Kindar, Dr Amy Tenant is a leader in the advancement of Nanocell Technology. Now, in London, news breaks of a blood-vomiting civilian whose identity is far from coincidental. Reunited with an old friend, Amy is trapped in an impenetrable HQ of laboratories—a womb of scientific advancement with a perilous secret.

Geethanjali Malli Vachindi(te)

A group of boisterous artists come to film a horror movie in a seemingly haunted bungalow but their plans are soon derailed by intercepting ghosts and spirits inhabiting the premises.

The Red Thread(en)

Mostly shot in San Francisco and Northern California, material filmed (using the camera almost as a p[r/a]inter, a means of shaping the visual world as film, but without reflection) in response to what that world was opening in me. "Material!" - analogies between weaving and spinning thread and images already a pattern within film history (e.g., in Deren) is here carried into further ramifications of unraveling and patterning in fabric- and cinema-making, as well as in personal and mythic dimensions. The open unfolding structure, which pulls away from the balanced design of much of my work, gives equal weight to the sound composition. Involves "opening" with its perils and ambiguities.