An aspiring Olympic gymnast and her single father who has dedicated himself to his daughter’s success. When the young athlete suffers a potentially career-ending injury, their relationship suffers as they fight to discover who they are without gymnastics.
Haroun is an old bachelor who has lived in Oran for several years. A retired civil servant, he leads a reclusive life until the day he meets Kamel in a bar—a journalist to whom he tells an incredible story dating back to 1942. He claims to be the brother of ‘the Arab’ killed in a story told in one of the most famous novels of the 20th century, ‘The Stranger’ by Albert Camus. An Arab with an erased name: Moussa. Through anger, assertions, details, and confidences, Haroun finally convinces the journalist to listen to his story. His confession is a cry of freedom and distress—but above all, a cry of revolt: against an abusive mother, against a country that failed to achieve true independence, against a book, and against a famous French writer.
Zuo Shouquan is the director of the morning paper in a north-eastern city. He has a daughter, Zuo Mingming, who lives with his ex-wife. The girl is neglecting her studies. She is not particularly interested in her education. Her father wants her to move and start working at his newspaper. Zuo Mingming won’t have it; she plays in a band and her only dream is to pursue a musical career in the south. Father versus daughter, north versus south – a deeply rooted conflict between different systems of values in a contemporary Chinese comedy.
Singapore, 1994. Ah Girl is a curious 7-year-old girl. Since her parents separated, she lives in a small flat with her younger sister, Ah Tian, her easygoing Pa who works nightshifts, and her irritable Grandmother. They see their needy and unreliable Mum on weekends. One weekend, drunk Mum asks if Ah Girl wants to live with her when she gets a bigger flat. This question disrupts Ah Girl's sense of the world, and the rest of the film unfolds as she struggles with the decision. She becomes increasingly aware that her family life is far from normal.
Unfolding over the course of a single night. It captures a fleeting phase in a young couple’s relationship — moments of closeness, uncertainty, and love, just before life pulls them in different directions.
In this semi-autobiographical drama, filmmaker Diego Bauer plays a fictionalized version of himself confronting his past and present during a drastic weight-loss journey. As his body changes, he revisits memories of childhood, family, and social stigma, while questioning masculinity, desire, and belonging. Alongside this process, he reflects on his bisexuality and attraction to male and female bodies, exposing confusion, vulnerability, and self-acceptance. Blending fiction and confession, the film follows his attempt to reconcile who he was with who he is becoming in a society obsessed with norms and appearances.
After a client wiht an unusual birhtmark knocks on the doors of the apartment of a transgender artist, the latter tries to piece together where the two of them have previously met.
She wants to paint, to write, to make music. Opposite her, an army of robots unleashes an endless stream of images, sounds, and words: perfect, instant, standardized content. A flood that threatens to drown all singularity.
From the dust-laden fields of Rayalaseema comes a story shaped by truth and tradition. Devagudi follows three childhood companions divided by caste and tested by fate. In a land where silence is strength and love becomes rebellion, one moment shatters their world. Inspired by real events, it stands as a tribute to character rising above caste.
Three lifelong friends gather in one of their apartments before heading out for a night on the town. As they get ready, tease each other, and laugh together, the party outside fades from their minds. In this intimate prelude, they feel truly themselves, carried by the warmth of their friendship.