A group of college friends rent an Airbnb for the biggest music festival of the year. But their weekend of partying quickly takes a turn, as the group is murdered one by one, in correspondence with the seven deadly sins.

Zel is a fortune teller. She lives and works in an old house at the edge of the woods. The house is crowded with ghosts (including a priest, a bride, a mute child, some washed up vaudevillians and a noisy, sight-impaired group of musicians among others) that have been there for as long as she can remember. When a mysterious light appears in the woods the ghosts realize that they are trapped and begin to rebel. Zel is forced to come to terms with the origins of these spirits and letting go of the only family she has ever known.

Just by watching Lupe stuck at home in her robe and slippers, no one would will guess that in the 80's she was a rock star. Gone are the times of concerts, fame and success. Agoraphobia does not let her leave home. She depends entirely on Paquita, his mother, a superstitious Mexican, with a huge heart, which not only takes care of his daughter but also her teenage grandson. The problem is that Paquita is running out of time and she doesn't want to leave without getting her daughter back.

A high school becomes ground zero for a zombie virus outbreak. Trapped students must fight their way out — or turn into one of the rabid infected.

Celebrities borrow their smart friends' brains to win a survival quiz.

A group of disconnected people are brought together by a string of awkward events in post-9/11 Manhattan. A body-snatcher (Mia Tyler) is gathering dead bodies off the streets and no one seems to know why, especially the two detectives (Eddie Steeples, Peter McNolte) who are assigned to find her.

A group of disconnected people are brought together by a string of awkward events in post-9/11 Manhattan. A body-snatcher (Mia Tyler) is gathering dead bodies off the streets and no one seems to know why, especially the two detectives (Eddie Steeples, Peter McNolte) who are assigned to find her.

Life is ever-delightful — and ever-challenging — for a group of friends in their twilight years as they rediscover themselves through love and family.

Repurposing the video game Sleeping Dogs (2012), IN THE LONG RUN//WE ARE ALL DEAD is a single-take experimental machinima that unfolds within the rain-soaked, neon-lit streets of a virtual Hong Kong. Operating within the aesthetics of neo-noir, the work constructs a relentless pursuit—an enigmatic chase where the identities of both the pursuer and the pursued remain ambiguous. Sirens wail, bullets ricochet, and rain distorts the cityscape, reinforcing the sense of perpetual movement and existential uncertainty. Who is the runner? What is the nature of their escape? Is there an endpoint, or is the pursuit itself the defining condition of this digital existence? Offering no resolution, the machinima foregrounds the mechanics of pursuit as a metaphor for the relentless temporality of virtual worlds and the cyclical nature of digital violence.

Dealing with a taboo medical disorder, Eden enlists the help of their best friend, Grace, but they quickly realize they know shockingly little about vaginas, vaginal dilators, and the limitations of coconut oil.