This short produced by three artists from US-based Ringling College of Art and Design focuses on art, nudity, religion and censorship. The short deals with an important subject that is weaved throughout the history of art, as this has been an ongoing struggle that has lasted thousands of years (one that art is fortunately winning). It’s worth noting that nudity and sex show up more often in short films from certain countries than others. What is a basic part of human nature is handled by societies in very different ways. 　　In the case of this short the subject is presented with a humorous approach, two main characters with an external conflict are staged in a museum (urban area), with a stylized aesthetic. The staging, animation and music seems to be inspired by 2D cartoons, setting the mood for comedy. Good effort has been dedicated to the characters’ expressions and poses, to help transmit conflict and comedy. Visual rhythm is high, with frequent cuts, motion within the frame and camera moves. 　　Highlights of the short include its focus on art, references to historic artworks, creativity, humor, playful staging and change of POV for comedic effect (the two policemen entering at 3m27).

This short produced by three artists from US-based Ringling College of Art and Design focuses on art, nudity, religion and censorship. The short deals with an important subject that is weaved throughout the history of art, as this has been an ongoing struggle that has lasted thousands of years (one that art is fortunately winning). It’s worth noting that nudity and sex show up more often in short films from certain countries than others. What is a basic part of human nature is handled by societies in very different ways. 　　In the case of this short the subject is presented with a humorous approach, two main characters with an external conflict are staged in a museum (urban area), with a stylized aesthetic. The staging, animation and music seems to be inspired by 2D cartoons, setting the mood for comedy. Good effort has been dedicated to the characters’ expressions and poses, to help transmit conflict and comedy. Visual rhythm is high, with frequent cuts, motion within the frame and camera moves. 　　Highlights of the short include its focus on art, references to historic artworks, creativity, humor, playful staging and change of POV for comedic effect (the two policemen entering at 3m27).

30-year-old New York actor Dev takes on such pillars of maturity as the first big job, a serious relationship, and busting sex offenders on the subway.

After a flighty young woman accidentally witnesses a Mob hit in an Italian restaurant, New York Police Inspector Theo Kojak must both protect her from an unscrupulous Dutch hitman, and bring Mob kingpin Tony Salducci to justice.

Elizabeth Leroy devotes her life to serving God but her faith is tested over the years as she has to overcome many hardships and sorrows.

After being constantly bullied at school by her classmate Kevin, 8-year-old Claire discovers that the boy who is giving her hard time is also suffering and might need her help…

The exploits of a group of men and women who serve the City of New York as police officers, firemen, and paramedics, all working the same fictional 55th precinct during the 3pm to 11pm shift - the 'Third Watch'.

The exploits of a group of men and women who serve the City of New York as police officers, firemen, and paramedics, all working the same fictional 55th precinct during the 3pm to 11pm shift - the 'Third Watch'.

In this East German film, the third one in The Third is Margit's third lover. After her mother's death, Margit has two affairs which don't work out, and one lesbian friendship which she retains. She is looking for a husband, though, and thinks she has spotted a candidate in her fellow factory worker. As she contemplates marrying him, her story is told in a series of flashbacks.

An acclaimed novelist struggles to write an analysis of love in one of three stories, each set in a different city, that detail the beginning, middle and end of a relationship.