Julia is a woman searching for the meaning of life. When Julia is kidnapped by a homeless man, she is transported to a magic world where she will have to fight fantastic creatures.

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A janitor is mainly used for dirty jobs by the occupants of an apartment building. When the lights fail and he goes down into the basement, he inadvertently witnesses an occult ritual.

After a debt-collector finds a portal to hell in a washing machine at his local laundromat, he’s propositioned into feeding it sinners to save his neighbor’s soul, maybe even at the expense of his own.

In Mirai (The Abyss), Gabriel Andrés De Simone works with striking economy, drawing on the visual and affective world of Ghost of Tsushima to shape a compact meditation on conscience under pressure. Beginning from a textual intervention, the film opens onto a reflection on what prolonged exposure to violence does to judgment, feeling, and moral resistance. Its brevity gives the work concentration. De Simone introduces friction into the game’s dramatic logic, shifting attention from action to aftertone, the emotional and ethical residue left once repetition has drained experience of its force. What happens when violence no longer registers as rupture but begins to organise the atmosphere of experience? Mirai (The Abyss) addresses that question with notable precision. Its mood is one of quiet corrosion. The work draws its force from restraint and from the sense that deeper forms of transformation often occur incrementally, through attrition. De Simone uses the game world to think through the dulling of response itself: the dangerous normalisation by which the intolerable becomes ordinary.

A coming-of-age tale of two boys trying to survive amidst rampant corruption and gang violence.

A rural fireman discovers that a secret particle collider has opened a portal to hell.

Basketball legends from past and present go head to head in a one-on-one game, but mostly just talk trash until one triumphs the victor!