Borrowing words from Laura Mark's 'Transnational Object' and DW Winnicott's 'Transitional Object', all carefully etched into the 16mm film surface, Nazli Dinçel's latest work BETWEEN RELATING AND USE is an attempt to work ethically in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards – on how we use our lovers.

Borrowing words from Laura Mark's 'Transnational Object' and DW Winnicott's 'Transitional Object', all carefully etched into the 16mm film surface, Nazli Dinçel's latest work BETWEEN RELATING AND USE is an attempt to work ethically in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards – on how we use our lovers.

Ethics Alexis Louder

A bad guy, a cruel guy, a lame guy, a cowardly guy and the meanest woman gets involved in a beautiful university student's murder case.

A young woman dealing with anorexia meets an unconventional doctor who challenges her to face her condition and embrace life.

To the Beat follows 14-year-old twins Mia and Mackie Castillo - dancers since they were toddlers. Beginning at just three years old, that's been their one true passion. They support each other through competitions and rehearsals, even though they dance different styles. Mia loves tap and Mackie loves jazz. When their favorite pop star launches an online contest to find the most unique dance group for his next music video, the twins each form their own team to compete for the chance to dance in the video - enlisting their friends and family to help gain online votes. Meanwhile, their arch rival and neighbor, Avery, the best dancer of all (who knows it too) uses her charm and resources to get the upper hand in the competition.

After falling in love in Paris, Marina and Neil come to Oklahoma, where problems arise. Their church's Spanish-born pastor struggles with his faith, while Neil encounters a woman from his childhood.

Under small-town scrutiny, a withdrawn farmer’s daughter forges an intimate friendship with a worldly but reckless new girl in 1960s Oklahoma.

Norman, who lost his parents in a fire as a child, is obsessed with light and haunted by its destructive powers.

Julia works as a waitress on the night shift of the Comodoro Rivadavia casino. There, she meets Gwynfor, a customer who offers an interesting work opportunity in the oil industry. And so, what starts out as a morning appointment, résumé in hand, becomes a nightmarish journey in the middle of the arid landscape of Patagonia, a space Ulises Rosell uses with the cinematic power of a western, with the inclemency of the sun and the darkness of night ravaging the protagonists. Inspired by the stories of captive women from the 19th century,