First Japanese TV drama about flight attendants.

This three-part series explores nine Black voices who are part of the next generation of excellence.

A middle-aged man and a teenager with everything to lose. These two strangers in very different situations meet unexpectedly and end up saving each other. Or do they?

20岁的女子大学生笹野さつき与身为拖车司机的父亲在公寓里过着平凡又幸福的生活，父女关系融洽，她也有交往的男友。然而，平静的生活在某一天被打破。笹野さつき在做清洁兼职的工作地点，亲眼目睹了一起“事件”。原本习以为常的地方，突然暴露出了某人的恶意。这让她不禁怀疑，一直以来看似平和的日常或许并非如此。不安感袭来，笹野さつき毅然决定辞去这份工作。 这部作品令人难以忽视的原因之一，在于它并未刻意去刻画人际关系的不和。不轻易采用亲子间的矛盾、情感纠葛等常见情节。作品中有着值得信赖的父亲和关系亲密的恋人。尽管没有选择那些容易搬上银幕的情节，但其65分钟的剧情依然极具吸引力。这得益于对笹野さつき情感及其变化的细腻描绘，以及成熟的表现手法，展现出人们努力生活的美好瞬间。

A remote alert post in the Pacific Ocean. There, tsunamis often hit the shore, sweeping away everything in their path. It is the duty of seafarers to warn people about the impending danger. They must record tremors that can trigger a tsunami, and they are the first to be in danger. Seven sailors are on duty, the peaceful course of which is interrupted by the tsunami that struck the island. There are victims — now it is necessary to warn the mainland about the impending disaster...

District inspector Pavel Khrapuntsov is “monitoring” a sect with a mystical bent in his neighborhood. The signals received by the police describe the actions of a certain Clementine, who knows how to turn people into animals and plants... A convinced materialist, Khrapuntsov does not immediately understand the complex world of Clementine and her friends.

A story about an everyday life of an inflectional department of Prague hospital.

During the winter of 1944, the partisans stationed in the Ligurian Apennines must go to a factory in Genoa, in order to pick up a delivery of weapons. Meanwhile, there's a strike in the city and the Nazis are trying to suppress it violently. The factory becomes the scene of fighting between the Germans and the partisans but the latter, aided by the workers, will be able to get the better.

An actor's promotional appearance at a new shopping centre is ruined when a popular rival shows up at a nearby store.

Intended as a documentation of Polish artist and theatre-maker Tadeusz Kantor’s “informal painting”, Mieczysław Waśkowski’s film develops a hectic experimental life of its own. The gestural application of paint is staged on changing spatial levels by means of glass plates, camera movements and lighting, making not the painter but the abstract form-finding the movie star.