Sparks fly when a humble housekeeper crosses paths with a wealthy surgeon, but a devastating truth puts their relationship to the test.

Kınalı Kar is a miniseries portraying the love stories of several people in the Turkish village of Kınalı Kar, most notably Ali and Nazar.

Exhibition Clarke’s participatory video project, Love Tapes, comprises over 2,500 three-minute videos where people talk to the camera about their personal experience with love. Endless Love Tapes is a manual and the series of new Love Tapes made in the UK without direct communication with the artist, aims to further democratise the process Clarke began in 1978 and allowing the project to continue indefinitely as Clarke had always wanted.

Initiated in 2016, this artistic endeavor brings together non-binary, transgender, and queer individuals to explore their experiences beyond external definitions, redefining identity and corporeality with their unique idioms. In Endless, these explorations unfold through various media—performance, music, and VR—culminating in a hypnotic film that resembles a narcotic vision.

一名濒临死亡的孤独男子发现自己被困在了一个名为“无尽之地”（Endless）的地方。

暂无剧情简介

Erica Doucette, wife of philandering Southern senator Jack Doucette, hits the talk show circuit to reveal all of the debauched goings-on in Washington, D.C. on The Larry Moore Show.

When a group of young people explore an abandoned mansion, they awaken the restless spirits that haunt the dark halls. Unable to hide from the vengeful ghosts of Serbia's dark past, can they find a way out before it is too late?

Zero. Winter. Ural city. A high school student is beaten on the street. He is dying. Parents experience the tragedy in different ways. Mother finds the diary. Only after the death of her son does she begin to understand how he lived. The father is obsessed with revenge and is looking for killers.

Among Tooming's filmic works, Endless Day provides perhaps the most eloquent material for investigating the radical renewal of visual and narrative form, as well as the shifting registers of spatio-social portrayals and critiques in Estonian cinema. It was banned in 1971 and ordered to be destroyed. However, the film was retained and restored in the 1990s.