After his estranged brother’s mysterious death, Ethan goes on a journey to Las Vegas for the funeral and unravels a dark web of crime, forcing him to confront his past as he delves into the city’s gritty underworld to uncover the truth.

The gaze look into the camera demonstrates a consciousness that there is someone looking back before the images were created. (Siegfried A. Fruhauf) 　　« Kinan di leid wider bled schaun heid / kinan di leid wider bled schaun. »* 　　This couplet, which is repeated like a mantra, forms the textual structure of BLED by the group Attwenger. In the course of the song it successively condenses into a loop which is underlined by the rumbling rhythm and the merciless electronic and accordion passages. Almost like a prayer wheel the invocation wobbles until its meaning and intonation begin to dissolve in the acoustic environment. 　　A similar process takes place on the visual level. Beginning with a shot of a man´s head (that of the filmmaker) which turns slightly to face the viewer, Siegfried A. Fruhauf alters the film in a number of steps. The picture dissolves into its grain, digital crosshatching or self-reflection, concluded by reworking in the style of drawing and painting with oil applied thickly and gesturally: The gaze into the camera – the faux pas which ruins the classic fiction-film shot – is visually disassembled, as a result of which this ur-scene of a break with fiction begins to decompose in a rhythmically eloquent manner. In all these variants the head is repeatedly dismantled into material textures that form a kind of formal structure underlying the concrete object. 　　"Look stupid" means, in the Austrian vernacular, not only to lose out, but also to stand around with gaping mouth, to wear a facial expression which incites aggression. Fruhauf works with the literal meaning of the latter to create a visual counterpart, which could be said to defuse this look. All stupidity is limited by sufficient deformation. 　　(Christian Höller) 　　Translation: Steve Wilder 　　* Können die Leut´ wieder blöd schauen heut´ / können die Leut´ wieder blöd schauen 　　(they´ll look stupid again today / they´ll look stupid again.)

The gaze look into the camera demonstrates a consciousness that there is someone looking back before the images were created. (Siegfried A. Fruhauf) 　　« Kinan di leid wider bled schaun heid / kinan di leid wider bled schaun. »* 　　This couplet, which is repeated like a mantra, forms the textual structure of BLED by the group Attwenger. In the course of the song it successively condenses into a loop which is underlined by the rumbling rhythm and the merciless electronic and accordion passages. Almost like a prayer wheel the invocation wobbles until its meaning and intonation begin to dissolve in the acoustic environment. 　　A similar process takes place on the visual level. Beginning with a shot of a man´s head (that of the filmmaker) which turns slightly to face the viewer, Siegfried A. Fruhauf alters the film in a number of steps. The picture dissolves into its grain, digital crosshatching or self-reflection, concluded by reworking in the style of drawing and painting with oil applied thickly and gesturally: The gaze into the camera – the faux pas which ruins the classic fiction-film shot – is visually disassembled, as a result of which this ur-scene of a break with fiction begins to decompose in a rhythmically eloquent manner. In all these variants the head is repeatedly dismantled into material textures that form a kind of formal structure underlying the concrete object. 　　"Look stupid" means, in the Austrian vernacular, not only to lose out, but also to stand around with gaping mouth, to wear a facial expression which incites aggression. Fruhauf works with the literal meaning of the latter to create a visual counterpart, which could be said to defuse this look. All stupidity is limited by sufficient deformation. 　　(Christian Höller) 　　Translation: Steve Wilder 　　* Können die Leut´ wieder blöd schauen heut´ / können die Leut´ wieder blöd schauen 　　(they´ll look stupid again today / they´ll look stupid again.)

The dead feast on human flesh and stop at nothing for it. The living, confined to the dark corners of the world, must do what it takes to survive. Dying is the only thing left to do at the end of the world. Now Ed, Matt, Joe, Natalie, Sam and Mary will try to survive. Who lives depends on who kills first.

A film celebrating the beauty and romance, the art and science of neon: visually stunning, one of the most environmentally friendly forms of lighting ever made, and endangered – LED is slowly but surely taking its place around the globe. Vivid, beautiful and insightful, Neon is the story of this noble element that has so profoundly coloured the modern world.

Episode movie about the no-future generation of the early 1980s.

Tech tycoon, Clay Amani, retreats to an off the grid location in search of meaning and peace, with disconnected siblings and their offspring, only to be caught in a bone-chilling killing spree within his new estate.

A burned-out pop star looks for an escape from his oppressive management team when his estranged, maniacal brother kidnaps him into a radical plot to reinvent his career.

It narrates in a near-future Tokyo the wild love affair between Dirka, a Japanese-Brazilian girl who works as a nightclub hostess to pay for her ailing Japanese father's debts, and Vadim, a young Russian drug delivery driver. Dirka yearns to return to the vaguely remembered Brazil of her youth. Vadim is sunk by remorse at having got his brother killed back in Russia.

Nils Philippi, advertising photographer, accuses himself of being an incorrigible hypocrite. He's been that way since he was a child, said what earned him recognition, what made him look good. He knows his problem, he just can't get rid of it. Nils illustrates his suffering to his analyst, putting himself in the limelight once again.