A disinherited daughter seeks to resolve her most private grief from the harsh abandonment by her father at his funeral.

Hyowon, who dreams of becoming an actress, runs away to Seoul with Eunseo, a high school dropout. The two girls step into the sprawling city with their fragile hopes, clutching at its promises like lifelines. Their first home is a basement room, dim and shabby, the air thick and heavy, but to them, it is a sanctuary, a nest of possibilities. Eunseo begins working odd jobs to keep them afloat, while Hyowon, drawn by her dream, takes on menial tasks at a theater company. They are buoyed by their own visions of tomorrow, their dreams threading through the cracks in the worn walls. Soon, Hyowon starts taking acting lessons from Suyeon, a lead actress at the theater. Suyeon’s voice is steady, her words sharp: "Acting is the art of embodying another’s suffering." Hyowon listens, but the weight of those words eludes her. She cannot yet grasp the depths of Eunseo’s pain, nor can Eunseo fully see hers. The two drift, parallel yet apart, their lives entangled by need and longing but marred by unspoken distance. The city presses in, relentless. Their lives fracture under the strain of survival, yet questions linger in the spaces between them. What does it mean to carry someone else’s sorrow? What does it mean to live with your own? For them, life is an unanswered question, fragile as the surface of water, trembling under the weight of its own reflections.

Sandra Dennis, a social worker, whose daughter was a victim of human trafficking must race against the clock to find four girls trapped in a warehouse before they are shipped out of the country.

Oğuz Albatros, a middle aged musician, “very famous”. But the works he writes are being watched thanks to his wife Mediha’s theater director, journalists and even audiences.

For various reasons, a number of people have come see the painting Water Lilies by Claude Monet in the Museum of Modern Art in New York. Two businessmen caught up in office politics discover the truth about themselves and their situation. Angie and Marcia, two elderly matrons, find a place to rest their weary feet. David, a shy English student, meets a young student museum guide, and a married couple find the peace of the room gives them the strength to talk truthfully about their relationship.

Alex, a young artist of the Harlem Renaissance, flirts with the idea of bisexuality through posturing and conversations he has with his girlfriend, Melva, and his Bohemian mentor, Raymond. Then he meets Beauty, a Latin man who pursues Alex with poetry and fire, and the fun turns to earnest. The music of a concert performance breaks the floodgates of Alex's desires, and he finds himself torn between Melva and Beauty. Which one will he choose?

A young mother, Mildred, doesn't know that her husband Walter is cheating on her. One night she attends a party with a friend of her husband's, and the man gets drunk and begins groping her when they get home. Her husband sees this and uses it as an excuse to sue his wife for divorce. In the ensuing trial he wins, due to fraudulent evidence, and gets custody of the child. Complications ensue.

In this belated sequel to 'Lilies of the Field' (1963), jack-of-all-trades Homer Smith revisits the chapel in the Arizona desert that he helped build for five German nuns under the supervision of Mother Maria, and he reluctantly helps them out of a pinch once more.

Two ex-soldiers search for stability and love when they return home after World War One. -------------------------------------------- 史上最强东欧魔幻现实主义电影杰作之一。 The second and last full-lenght feature film ‘Wild Lilies’by Elo Havetta ranks among the most remarkable works of Slovak cinematography. It is an artistic paraphrase of the literary work of Vincent Sikula. The main charcters are veterans retrurning from WWI who want to find a home ans settle down. However, equally strong is their desire for freedom and the life of a tramp. Elo Havetta (1938-1975) He graduated at the School of Industrial Arts in Bratislava in 1957. At the break of the fifties and the sixties he iniciated several original projects ( Theatre of pictures) and as a result, he´d attracted and organized a group of young artists from various art fields. Havetta was a prose writer, photographer, worked as an editor in visual arts magazine, as a graphic designer, etc. Since the beginning of his studies at FAMU (Film Academy of Musical Arts in Prague) in 1961, cinema became his major interest. It was mainly due to the fact that he believed it was the only means through which his personal feelings and experience could be transformed, intermingling with other art disciplines. Havetta attended the Academy in a relatively fortunate period of relaxed creative atmosphere and according to his professor Karol Kachyna (significant Czech film director) his appearance soon became the most distinguished in the course. But eventhough he managed to attract wider attention already with his school work, after he returned to Slovakia, there was no room for him in major film studios producing film those days - Koliba. And so in 1967 he participated in creation of diapolyekran at EXPO ´67 (exhibition of....) and between 1967 and 1968 he worked as visual arts magazine editor in Smena. He managed to get through in Koliba only later, in 1968, however he has completed only two full-length feature films: A Celebration in a the Botanical Garden and Wild Lilies. Both these titles have become jewles of Slovak cinematography. Through these films playfulness, improvisation and spontaneity got through into the Slovak cinema. Screening of the latter at IFF Venice in however didn´t bring fame for Havetta, on the contrary it launched a definite prohibition of his work produced in Koliba studios. Since then, all the way through untill the moment of his premature death Havetta worked only for the Czechoslovak television in studio producing programmes for youth. At the occasion of Days of Slovak and Czech Film in 1990, he was presented a Life-long Creativity Award in memoriam.