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After two women poison the blackmailer who has been tormenting them, they wind up at the house of a blind man whose eccentric guest believes he has built a working time machine. Soon, the blackmailer is back to torment them all.

"The Unknown" was the final entry in Columbia’s I Love A Mystery series. A woman hires two detectives to keep her alive long enough to claim her inheritance.

See you soon 40 years old, David Zimmerman is a photographer but no one knows. While he almost never leaves home, friends drag him to a crazy party. He spots a woman in the crowd, can't take his eyes off her, follows her... In the middle of the night, his life changes. David wakes up... in the body of the unknown.

In Mirai (The Abyss), Gabriel Andrés De Simone works with striking economy, drawing on the visual and affective world of Ghost of Tsushima to shape a compact meditation on conscience under pressure. Beginning from a textual intervention, the film opens onto a reflection on what prolonged exposure to violence does to judgment, feeling, and moral resistance. Its brevity gives the work concentration. De Simone introduces friction into the game’s dramatic logic, shifting attention from action to aftertone, the emotional and ethical residue left once repetition has drained experience of its force. What happens when violence no longer registers as rupture but begins to organise the atmosphere of experience? Mirai (The Abyss) addresses that question with notable precision. Its mood is one of quiet corrosion. The work draws its force from restraint and from the sense that deeper forms of transformation often occur incrementally, through attrition. De Simone uses the game world to think through the dulling of response itself: the dangerous normalisation by which the intolerable becomes ordinary.

A coming-of-age tale of two boys trying to survive amidst rampant corruption and gang violence.

Educational how-to for couples.