The story focuses on the life of a couple and their twin sons, one of whom begins to show that he identifies as a girl. From this, Gabriela, the mother, will try to understand the situation of her son who soon becomes a trans girl, thus beginning a struggle for the rights and gender identity of Luana , who will also have to face the rejection of her father Guillermo.

A coming-of-age joyride about Cootie, a 13ft tall young Black man in Oakland, CA. Having grown up hidden away, Cootie soon experiences the beauty and contradictions of the world for the first time. He forms friendships, finds love, navigates awkward situations, and encounters his idol, a real life superhero named The Hero.

Inspired by true events from the 1970s, the story revolves around a young detective who becomes the head of a police unit focused on catching a rampant serial killer of women, nicknamed 'The Silesian Vampire'.

Megan is an all-American girl. A cheerleader. She has a boyfriend. But Megan doesn't like kissing her boyfriend very much. And she's pretty touchy with her cheerleader friends. Her conservative parents worry that she must be a lesbian and send her off to "sexual redirection" school, where she must, with other lesbians and gays learn how to be straight.

Mexico 1968: students are the public enemy. Mitch, a wealthy student of Monterrey, hijacks a plane to retrieve Beatrice, who has been kidnapped by the secret police six months ago. Armed with a gun, which he doesn't know how to use, and helped by his two friends as allies, Mitch will face the most bloodthirsty General and force him to release the love of his life.

A gender-bending office rom-com where an undercover ex-soldier poses as a male bodyguard to investigate a wealthy, eccentric murder suspect.

After an accident, Mun-Gi wakes up to find that he’s forgotten who he is. Searching for clues about his life, he meets Yeon-Hwa, who introduces herself as a ghost.

Hosted by Jungle legend Joel Dommett, along with your current King of the Jungle Sam Thompson and Capital radio DJ Kemi Rodgers, the iconic trio debate the day’s Trials, triumphs, tears and stomach growls from the Campmates as they happen.

The European culture channel ARTE has recently dedicated a number of segments to the American saxophonist David Murray, one of the most interesting and spectacular artists of this instrument today. The cycle started with the documentary 'David Murray: I'm a Jazzman' written by Jacques Denis and Jacques Goldstein, and directed by Goldstein. It continued with two concerts of Murray recorded in the recent years - the first with Cassandra Wilson and the Black Saint Quartet at the Jazz a Vienne Festival and the second with the Gwo-Ka Masters group of percussionists from Guadeloupe. 　　Goldstein's film is based on an extended interview-confession with the artist. It is of course by listening to the music that we do understand best a musician. Yet I wish we can hear more such testimonies from artists speaking about their lives, their influences, and the way they relate to their art. Listening to Murray we have the opportunity to know the man and the biography and understand better where his music is coming from. We meet a man who is sincere and true in what he does, who explores not only musical territories but also his own self. We meet an artist who tries to make music that is representative to his times and reflects the influences of the world around as well as his personal background. 　　Born in Auckland California, Murray was influenced by a combination of tradition and social revolution. He attended church, and a precious film fragment from his personal archives shows him accompanying a group of women singing gospels in church, but at the same time his father was close to the Black Panthers movement and their protest ideas. When he took the trip in New York, mandatory to almost any American jazz artist, it was at the time of the pick of the Loft Jazz trend, and his principal influences became Archie Shepp and Albert Ayler. He borrowed the style of the later, and the long circular breathing phrases became a print of his own personal style. After more than two decades of activity in New York, Murray took a trip to Europe about which he speaks largely in the film. It is here that he has the time to reflect on his own origins and discovers the need to go back to the roots of the African music. The story of his meeting with the work and biography of the Russian poet Pushkin who also had African ascendancy in his blood is interesting by itself, as is the music he composed on this occasion. 　　Best words about David Murray in this documentary are being said by jazz journalist Stanley Crouch. He describes Murray as one of these artists who are capable to combine in their music the flame of passion of the primitives with the relaxation of the sophisticated instrumentalists who master their means. The documentary is an open invitation to cross the gate of knowing better the man and his art.

The European culture channel ARTE has recently dedicated a number of segments to the American saxophonist David Murray, one of the most interesting and spectacular artists of this instrument today. The cycle started with the documentary 'David Murray: I'm a Jazzman' written by Jacques Denis and Jacques Goldstein, and directed by Goldstein. It continued with two concerts of Murray recorded in the recent years - the first with Cassandra Wilson and the Black Saint Quartet at the Jazz a Vienne Festival and the second with the Gwo-Ka Masters group of percussionists from Guadeloupe. 　　Goldstein's film is based on an extended interview-confession with the artist. It is of course by listening to the music that we do understand best a musician. Yet I wish we can hear more such testimonies from artists speaking about their lives, their influences, and the way they relate to their art. Listening to Murray we have the opportunity to know the man and the biography and understand better where his music is coming from. We meet a man who is sincere and true in what he does, who explores not only musical territories but also his own self. We meet an artist who tries to make music that is representative to his times and reflects the influences of the world around as well as his personal background. 　　Born in Auckland California, Murray was influenced by a combination of tradition and social revolution. He attended church, and a precious film fragment from his personal archives shows him accompanying a group of women singing gospels in church, but at the same time his father was close to the Black Panthers movement and their protest ideas. When he took the trip in New York, mandatory to almost any American jazz artist, it was at the time of the pick of the Loft Jazz trend, and his principal influences became Archie Shepp and Albert Ayler. He borrowed the style of the later, and the long circular breathing phrases became a print of his own personal style. After more than two decades of activity in New York, Murray took a trip to Europe about which he speaks largely in the film. It is here that he has the time to reflect on his own origins and discovers the need to go back to the roots of the African music. The story of his meeting with the work and biography of the Russian poet Pushkin who also had African ascendancy in his blood is interesting by itself, as is the music he composed on this occasion. 　　Best words about David Murray in this documentary are being said by jazz journalist Stanley Crouch. He describes Murray as one of these artists who are capable to combine in their music the flame of passion of the primitives with the relaxation of the sophisticated instrumentalists who master their means. The documentary is an open invitation to cross the gate of knowing better the man and his art.