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There's Nothing Better than watching your favorite adult stars dress up as your favorite villains and superheroes literally fuck each other up, down and sideways before they get covered in cum!

A lonely Singaporean death row guard tries to help a young Australian convicted of drug trafficking accept her fate despite a bizarre contradiction - he is her executioner.

Moscow in a not so distant future where human beings share their daily lives with robots. Georgy, a forensic who has a robot assistant, suddenly finds himself caught up in the first murder committed by a new kind of experimental humanoid.

After a one-night stand a couple is faced with the terrifying possibility of what they really want.

The 17-year-old Tom filled out a questionnaire for the Employment Agency at a vocational guidance office in his school. He falls in love with the trainee, which distributed the questionnaires. In the evaluation he gets out a job as an apprentice at a funeral home as a funeral professional.

A reluctant drug dealer strives to elevate his friends' lives while the addictive forces of an ignorant Oxycontin prescription corrodes his own.

After a teenage girl's perplexing suicide, a classmate receives a series of tapes that unravel the mystery of her tragic choice.

17 Reasons Why should ideally be projected at 16 fps. It is far more enjoyable at this slower speed. 　　17 Reasons Why was photographed with a variety of semi-ancient regular 8 cameras and is projected unslit as 16mm. These pocket-sized relics enabled me to walk around virtually “unseen,” exploring and improvising with the immediacy of a more spontaneous medium. The four image format has built-in contrapuntal resonances, ironies, and beauty, and in each case gives us an unpretentious look at the film frame itself … the simple and primordial delight of luminous Kodachrome and rich black and white chugging thru these timeworn gates. N. D.

17 Reasons Why should ideally be projected at 16 fps. It is far more enjoyable at this slower speed. 　　17 Reasons Why was photographed with a variety of semi-ancient regular 8 cameras and is projected unslit as 16mm. These pocket-sized relics enabled me to walk around virtually “unseen,” exploring and improvising with the immediacy of a more spontaneous medium. The four image format has built-in contrapuntal resonances, ironies, and beauty, and in each case gives us an unpretentious look at the film frame itself … the simple and primordial delight of luminous Kodachrome and rich black and white chugging thru these timeworn gates. N. D.