Her mother abandoned her to join a cult when she was a child. Now in her 30’s, Penny's father has gone missing. Has the cult kidnapped him? Now alone in the world, Penny decides to infiltrate the cult, posing as a new member, to save her father before it is too late.

CHASING CHASING AMY explores the transformational impact of a ‘90s rom-com on a 12 year old kid from Kansas, coming of age and contending with queer identity. For young Sav Rodgers, the Kevin Smith cult classic, CHASING AMY, became a life raft. As Rodgers examines the film and its making as a cornerstone of LGBTQ+ cinema, he finds himself at a complicated crossroads.

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Argentina, 1975. Laura is only eight years old, but she knows that to survive you have to keep quiet. She shares her days with her mother and the other activists in a house where the clandestine printing of the Evita Montonera is hidden.

A mad scientist and other misfits from the wrong side of the tracks are implicated in a grave-robbing and its aftermath.

A family of three (plus one rabbit) loses their social housing due to the father lying about being confined to a wheelchair and are subsequently forced to move into a cardboard box on top of Iceland's highest high rise. Desperate to keep the family together and with a baby on the way, Steingrímur, the head of the family, comes up with a devious plan that could either save his family, or tear it apart completely.

This film has a structure like a Möbius loop, where reality and dream, dream and reality, are all in a row, and the loop repeats itself endlessly. There are scenes of conversations that seem to change location with each cut, or railroad crossings where up trains and down trains melt into one another, an exchange with a Polaroid brother from Tokyo at Osaka Castle, or a tennis scene. The artist's unique method and the expansion of images backed by it create a rich game of images and words.

A short film about monsters, moon-walks and what happens to your imaginary friend when you make your first real one.

A daring boy's journey against the cruel entanglements of deception and disabilities of the adult world.

Shan He’s I want 1000 Rabbits also uses a prompt box as a central element. As the text in the box changes, the images in the background change as well. We see constantly changing “happy rabbits,” “vegetables and meat, for hotpot,” “gifts,” “snacks,” “fireworks,” “friends,” “happy friends who are sitting around table, eating hotpot, in the Chinese new year eve.” The film suddenly cuts to black and ends with a curious and striking text: one might be better.