Not just a music film. Not just a ballet film. Not just a political film essay. Here, an antique Greek tragedy serves as an astute metaphor for the country's current tragedy. Medea kills her own children. Society has turned against its offspring and thus kills their future. The balletic retelling of a mother murdering her two kids, choreographed by Renato Zanello, is based on Euripides' play and features music by Mikis Theodorakis. Script, sound and dance join forces in a powerful film that reflects the desperation of a society that spent all of yesterday turning its children into those who make up today's lost generation. These protagonists are flanked and contrasted by the disturbingly mild-mannered 15-year-old Bella, the story's innocence incarnate, who is destroyed by the hand of a hostile and selfish world. Against this background, she seems almost unreal; a fictitious character. Certainly no fiction, on the other hand, are the words of Anne Frank, hidden away in her Amsterdam ...

Having triumphed at the Met in some of the repertory’s fiercest soprano roles, Sondra Radvanovsky stars as the mythic sorceress who will stop at nothing in her quest for vengeance. Joining Radvanovsky in the Met-premiere production of Cherubini’s rarely performed masterpiece is tenor Matthew Polenzani as Medea’s Argonaut husband, Giasone; soprano Janai Brugger as her rival for his love, Glauce; bass Michele Pertusi as Glauce’s father, Creonte, the King of Corinth; and mezzo-soprano Ekaterina Gubanova as Medea’s confidante, Neris. Carlo Rizzi conducts.

A guilt-ridden writer, haunted by the past, embarks on a melancholic train journey home. Memories of a tumultuous adolescence resurface, forcing him to confront a dark secret that led to his mother's confinement in an asylum. Through fragmented recollections and lyrical confrontations, he navigates a path towards redemption and artistic awakening. Drawing inspiration from Wales' literary cornerstone, "Un Nos Ola Leuad," this introspective drama is a fever dream woven from personal trauma and artistic expression. The hauntingly beautiful score, composed by Gareth Glyn and performed by the Welsh National Opera orchestra, further amplifies the emotional intensity of the narrative. This film is a Welsh-language "operatic film", a genre-bending exploration of grief, memory, and the power of artistic creation.

The beautiful but icy Princess Turandot will only marry a man who can correctly answer three riddles. Those who fail are brutally beheaded. But when an unknown prince arrives, the balance of power in Turandot’s court is forever shaken, as the mysterious stranger does what no other has been able to.

Herod lusts after his stepdaughter Salome and insists on seeing her dance. Salome longs to kiss the mouth of the imprisoned John the Baptist – a prophet of doom who loses himself in hate speech.

Raised by a scheming dwarf and unaware of his true family origins, a young man embarks on an epic journey.

In war-torn Rome, Floria Tosca and Mario Cavaradossi live for each other and for their art. But when Cavaradossi helps an escaped prisoner, the lovers make a deadly enemy in the form of Baron Scarpia, Chief of Police. At the mercy of Scarpia’s twisted desires, Tosca is forced to make a horrific bargain: sleeping with the man she hates in order to save the man she loves. Can she find a way out?

Tatyana spends her days lost in the world of romantic books, while to her carefree sister Olga, love is just a game. When Olga’s admirer, the poet Lensky, arrives at their country estate with the brooding Eugene Onegin, sparks fly. Tatyana immediately falls for Onegin and declares her love for him in a letter. Onegin rejects her, telling her that he is not ready for marriage. Heartbroken, Tatyana is forced to put on a brave face at her own birthday party, and matters worsen when Onegin begins flirting with Olga. Lensky is outraged and challenges Onegin to a duel, with deadly consequences. Years later, Onegin and Tatyana meet again at a ball in St Petersburg. Haunted by grief and regret, Onegin realises he has made a terrible mistake. But does Tatyana still feel the same?

A short funny self-referential film that is left purposely unfinished. It incorporates experimental animation techniques invisible to the naked eye.

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