This film evokes Valencia illegal gaming back in the seventies. A young peasant -Ferran- plays cards not much to make a living but as a distraction of his daily routine. Ferran meets a larger-than-life character -el chino- who happens to play cards for a living. This other guy is depicted as a Toni Manero look alike but his charisma an arrogance lead the innocent Ferran to join him in his schemes to make money to end up betting all on the next card table. At some point the action moves to Madrid and Ferran steps down losing track of El chino who takes on more dangerous games making a living out of Russian Roulette until the round gets loaded. Based on real events this is no Hollywood epic but it captures the desperation of the characters very effectively.

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.

Family troubles, reproaches from acquaintances for stupidity and inability to live, illness of children, death of his wife brought Kirill Kiselnikov down. Flattered by a bribe, he commits a forgery. Betrayal of ideals is costly: the unfortunate person loses his mind. And that is not all…

Alexander Varlamov works in a special police unit that deals with the disclosure of serial murders and particularly violent crimes committed by people with mental disorders. When the usual methods do not work, and the investigation comes to a dead end, Varlamov and his group come into play. Studying the crime scene, the evidence, the results of the forensic examination, they calculate the psychotype of the maniac and try to understand his true motives. They delve into every step of the criminal, and try to guess his next step to prevent a new crime.

A film-play produced by the State Academic Maly Theatre based on the play of the same name by Alexander Nikolaevich Ostrovsky. A drama about the 'little man,' weak and kind, drowning in the depths of the sea of life.

詩（UTA）は殺人を犯してしまった恋人である七（NANA）の後処理をするためにTAKESHIと現場にかけつける。３人は死体を運び出し武（TAKESHI）が幼い頃に見たという底のない穴に死体を捨てるために森に入っていく。

A chain of 10 000 images found through Google’s reverse image search. The visual development is based on the misunderstandings that happen in the AI’s reading of the image material. The AI doesn’t care about scale, emotions or context but is only interested in patterns, colours and correlations. We are watching a primal chaos before the creation of an artificial consciousness. And the awakening consciousness is looking back at us as a species.

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