Straight-arrow Barry has moved 3000 miles away from lackluster Ohio to attend college in sunny SoCal, and his friend Douglas has come along for the ride. Barry has his education on his mind; Douglas, the consummate mover-and-shaker, plans to make Barry a "Bar Star." Everyone knows the "Bar Star," the nightclub denizen that: like James Bond, he knows that every woman wants him, and every random guy wants to be just like him.

饰以人类表皮的肢体芭蕾。以超现实主义的肉体影象造就一场科幻意味的旅程，便有了这片中的草长莺飞。由 Clemens Kogler创作。

饰以人类表皮的肢体芭蕾。以超现实主义的肉体影象造就一场科幻意味的旅程，便有了这片中的草长莺飞。由 Clemens Kogler创作。

In 1969, a 10-year old boy's life takes a major turn when he discovers the father he never met is alive. Selling candy bars left and right to save up for a trip to see his dad, the boy embarks on a journey that could change his life forever.

The antics of character actor Cooper and the unique group of LA natives who frequent his neighborhood bar.

After living separate lives, three men try to reset their former turf that is now infested with gangsters to its former glory.

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A woman working in a caribean Cabaret meets a man in the harbour that just went out of jail. They recognise in each other common feelings of rage and fury and then they fall in love in a story without words.

In a near future, a woman navigates a virtual customer service call via her own avatar and digital assistant. The film was written and directed by a human, however, LEXI's dialogue was generated by RivetAI, an artificial intelligence program.

Thomas (Juliano Mer) and his sister Mariana (Semadar Kilchinsky) have arrived together in Tel Aviv and set up housekeeping in the sleazy side of the city. Thomas makes his money as a "kept man" for two different women who are nightclub entertainers. At the same time, he attracts the attentions of an amorous transvestite. His unnatural love for his sister goes unexpressed, but his jealousy cannot be controlled. If his sister wants to lead any sort of a normal life, it will be up to her to break her dependence on her brother and move on. 　　The films of Hungarian born Amos Guttman, who died of AIDS in 1993 at the age of thirty-eight, were among the first to depict gay life in Israel, but they did so from such a lachrymose perspective that they often garnered more criticism than praise in many Israeli gay and lesbian circles. 　　In his films the protagonists are hopelessly caught in vicious circles of sexual and emotional exploitation. One could approach Guttman’s thinking in a variety of ways. On the one had, he was the product of a time when homosexuality was repressed and marginalized, so his cinematic response might be seen as entirely logical. To purge Israeli society of its internalized homophobia required an unapologetic look at the potential “monsters” that it had created. Similarly, one finds in Guttman a vision of sexuality that was concerned, not with normalizing gayness within existing social structures, but rather with shattering those structures and substituting alternatives in their place.