Nonoka goes out of her way to make a written confession to the older brother of one of her classmates, but he doesn't even read the letters. This prompts her to stop by in person, and express her "hate" for him through various antics...

A man lost between life and death confronts all sorts of events that turn him into real voracious cannibal. It is taken strange bloody hallucinations which push him to fill his hunger and to fight against demonic forces.

A man lost between life and death confronts all sorts of events that turn him into real voracious cannibal. It is taken strange bloody hallucinations which push him to fill his hunger and to fight against demonic forces.

George Lucas and Steven Spielberg tell the struggles and the passion for making the Indiana Jones Trilogy.

George Lucas and Steven Spielberg tell the struggles and the passion for making the Indiana Jones Trilogy.

From the dark vaults of Forbidden Worlds comes a new chapter of terror in Urban Evil: A Trilogy of Fear, a collection of three contemporary stories of urban horror. In "Demonic Tunes," a dynamic hip-hop group called Urban Protectors is "discovered" by the notorious record producer Dr. Bones, who plans to turn them into part of his zombie army and dominate the world. In "The Killing Kind," 17 year-old Kwame invokes his grandmother's magic of the "killing kind" and puts it into her old rag doll after a group of local thugs put her in the hospital. And finally "Hidden Evil" explores a mysterious vault in the basement of an old abandoned high school, where there lurks an evil that has been locked away for 100 years. When they mistakenly free a horrific spirit, the school becomes a deadly prison and there is no way to escape.

A story of Hong Kong told by three generations of real people: 'preschooled' children, 'preoccupied' young people, and 'preposterous' senior citizens.

A man wrongly accused of murder is helped by Advocate Mahesh Das, despite the increasing threats they face during the investigation.

"As audiences could see for themselves in a special screening series organised by the Austrian Film Museum in November 2011, Benning’s more recent films move in several directions simultaneously. He picks up on older projects, reworks them, yet at times leaves these behind and makes an utterly fresh start – striking a strange equilibrium between continuity and a new slant on particular models of film aesthetics. 　　Benning has been viewed over the past decade as the USA’s landscape filmmaker par excellence, and at first it seems bewildering to find he has now turned his attention to phenomena of the digital world such as Web 2.0. In »YouTube Trilogy« (2011), Benning organised found material around three thematic clusters which apparently have little in common. The first section focuses on children of various religious affiliations singing: »Agnus Dei« in the crystal-clear voice of a boy from the Vienna Boys’ Choir, two girls singing a »Shalom« song, a teenager belting out into Leonard Cohen’s »Hallelujah« and a solo of an Arabic song by a young girl. These young people making music in a range of formats produce different types of intimacy. Whilst the Vienna Boys Choir piece is clearly taken from a television recording and exudes a sense of the official nature of the event, most of the other videos bear the hallmarks of youthful (YouTube-style) self-staging. These tensions function in a sense as a prelude to Benning’s attempt to give shape to a kind of concealed artistic autobiography by compiling and processing found video clips. He describes this part of the film as »my own sketchy tongue-in-cheek history«2 and thus establishes an arc of narrative tension underpinning what at first sight seem to be unconnected snippets – a man describes how a pistol works, President Eisenhower gives a speech, someone tries on a blue dress in a yellow window frame. Nonetheless the clips, filmed directly from the computer screen, function not so much in terms of what nonetheless remains an arbitrary combination but rather through the prism of the unique character of each scene. That makes the autonomy asserted by Benning even more questionable; while he claims authorial sovereignty over the digital found pieces, this ultimately gives rise to an idiosyncratic cryptograph. In the third section – with the deliberately attention-grabbing title »Asian Girls« – Benning picks up on the issue of the Internet’s typical categorisations, yet struggles to shift these categories away from the terrain of stereotype. "