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After being sexually assaulted by an acquaintance and incapable of dealing with the situation, a woman leaves her whole life behind and hides herself away in an isolated cabin in the mountains.

The deep sea is an alien world where sunlight cannot reach. The most inaccessible place on Earth for humans, its secrets are one of our great mysteries. But while we know so little about the depths of the oceans, it knows us. It knows our plastics, which settle in its deepest trenches; it knows our hunger, prospecting for the oil that lies beneath its surface; and it knows our greed, from the scars left by nets that trawl all life on the ocean floor. Caught in the Net is a hypnotic combination of the concrete and the abstract – blending mesmerising footage captured by scientific researchers that shows the detritus of industry, with the endless poetry of the sea itself. Combining a lyrical sensibility with quiet rage, the film exposes the vast reach of capitalism, reflecting on themes of exploitation, exploration, heritage, decay, care and resistance.

Anthology series based on real criminal cases, featuring an interview with the actual perpetrator at the end of each episode.

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A typical kid from the suburbs of Rio de Janeiro starts to support the team that his idol, Neymar, plays for. To his father, this is an unforgivable betrayal.

Several years ago, a group of unknown comedians created a television humor lab called 100 LIMITE. They exposed and sliced through everything they found ridiculous with the sharp blade of satire. Today, with the benefit of hindsight, they feel the need to confess. For four special episodes, André Robitaille, Jacques Chevalier, Pierre Brassard, Yvon Landry, Richard Z. Sirois, and Ghislain Taschereau reunite for one final MEA-CULPA 100 LIMITE. Will they truly ask for forgiveness?

In Mea Culpa, Christoph Schlingensief blurs a delicate line: he ignores the threshold that separates the healthy from the sick. By making his cancer the subject of an opera, premiering on the largest German-speaking theater, he is putting the art district under pressure: a wonderful institution like the Burgtheater must use its artistic resources lavishly to reveal the entire "truth" about us humans. At the end of the day, when the scenery on Janina Audick's revolving stage has finally come to rest, when Isolde's last Liebestad has been sung enchantingly beautifully by Elfriede Rezabek and indescribable jubilation breaks out, then Schlingensief is completely alone with his illness.

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Metta and Raga shouldn't fall in love. Raga hates girls with many dramas like Metta. Metta just wants to prove that there is no good in Raga. But, they still fall in love.