Caught between a lost-love story and inescapable paranoia, "Go/Don't Go" is a genre-bending slow-burn thriller that follows Adam, a wallflower who happens to be the last person left alive--or so he thinks.

Devastated by his daughter's death in a terrible accident, Ben becomes convinced that he can bring her back through a recurring dream. But is it just a dream? Or is Ben losing his mind?

A gangster and a broker change jobs.

Kwak Sun Young gets into a car accident and develops this ability of detecting a man's past from his body odors. She divorces her husband when she finds out about his long history of girlfriends. Sun Young then sets up a business where she helps women and even the police track down suspicious men and husbands.

A romantic comedy about the first of a tight group of friends to get married.

A group of supernatural demon hunters known as "Counters," each with unique abilities, disguise themselves as employees of a noodle restaurant, while tracking down evil spirits that terrorize the mortal world.

In a post-September 11th world overflowing with fear and hate, two Latino teens discover that sometimes the only thing that can keep them from drowning is love.

Fragments of memories are brought to the surface by the Blue Danube Waltz, revealing the lesser-known history of the Danube – the Black Sea Canal. While borders between filmmaker and actress become blurry, languages and layers of the past intertwine. 　　„I don’t know my name. I don’t know my origins. I only have memories of a place. But I don’t know if I ever was there.” Where? Along the course of the Danube in Strauss the Younger’s famous waltz. From Germany, where the actress’ great-grandfather survived the Second World War only to later live in Eastern Berlin, to Romania, to the Danube-Black Sea Canal, where the filmmaker’s great-grandfather was part of the political prisoners subjected to hard labor by the communist regime. Starting from a beloved cliché, “The Blue Danube”, Teona Galgoțiu’s film proposes an anguishing but beautiful exercise of alienation against the great imagined common histories – including cinematic ones – championing, instead, everything that is most immediate in a human connection: touch, play, confession. (Călin Boto)