After a grizzly-bear poacher named Hanaghan kills her fiance and fellow Fish & Wildlife Deptartment officer, Julie Clayton sets out to track the killer down and discover why the FBI is keeping its case secret from her. She is joined in her quest by Rollins, a police detective fresh out of alcohol-dependency rehabilitation.

Cultural mistrust and false accusations doom a friendship in British colonial India between an Indian doctor, an Englishwoman engaged to marry a city magistrate, and an English educator.

Ferit is the cherished heir apparent of one of the well-established families of Antakya. Ayse, on the other hand, is a lively young girl living in Istanbul who has managed to stand on her own feet. Ferit, who is about to marry Hande, the daughter of the Varoglu Family, confronts the facts before the wedding and his world turns upside down.

A ruthless businesswoman, Tracy Lance, returns to her childhood home in Texas after hearing her father, Jake Lance suffered a stroke. The two have been estranged for years, and Tracy is just in Texas to collect her inheritance, thinking (and hoping) her father will die. She makes plans to sell her inheritance, the Wounded Heart ranch, to an unscrupulous land developer. Her father does die, and her step-brother Sean Donnegal helps her discover her true, caring self again.

Kobe in the Showa era.Within the Hamasei-gumi, a branch of the Yamaga-gumi, there were two men known for charging ahead purely on emotion—the Okanaka brothers. The older brother, Hirokazu (Hitoshi Ozawa), and the younger, Ryuji (Yasukaze Motomiya), shared the same family crest, but if something rubbed them the wrong way, they wouldn’t hesitate to beat even their own allies half to death. One day, Ryuji causes trouble by wrecking a gambling den run by the Umeda-gumi, leaving him with no place left in Kansai. Hirokazu takes responsibility for the incident and leaves the yakuza world, becoming a civilian… but fate is far from done with the brothers.

Two sound artists play and listen into the large hole of the Garzweiler open-cast mine as a self-experiment. The camera observes the conflict at the hole, looks and listens into it. All attempts to alleviate or stop the wounding of the landscape seem fragile, helpless and perhaps even futile.

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

In 1890s India, an arrogant British commander challenges the harshly taxed residents of Champaner to a high-stakes cricket match.

From a dangerous murder plot to a planned robbery, unmask the gory face of terror through a dramatised version of the crimes happening around you!