A man overloaded by work accepts the offer of an identical double to perform some of those responsibilities for him, leading to deadly consequences.

Kripto wakes up 200 million years into the future on the continent Pangea II. It's a world were all his friends no longer exist. Together with a new ally he must find a way back and confront an enemy who lures in the dark.

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An 18-minute documentary made in 2005 by perennial Hartley actor D.J. Mendel, reunites the director and line producer Ted Hope with actors Adrienne Shelly and Martin Donovan for an off-the-cuff, affectionate, and surprisingly candid (it was hardly an easy shoot) recollection of their collaboration on the demanding Hartley's second feature.

Steve finds an old Indian Shaman who informs Steve that time is running out and that the evildoer, Natas, will soon return and must be stopped. Steve follows the map and uses the magical necklace the Shaman gave to him to seek out and stop Natas. After one visit to a ghost town with Zombies, Steve returns with four friends to prove the existence of this town and to help him find and defeat Natas.

Haunted by a fleeting encounter, a man becomes consumed by his obsession with a stranger. Drawn deeper into the streets of Paris, he follows the figure through an urban underworld where identity blurs, time fractures, and meaning slips out of reach. Inspired by Edgar Allan Poe’s "The Man of the Crowd," REFLECTION OF A DEADMAN is a hypnotic descent into dissociation, anonymity and the quiet terror of losing yourself while trying to find yourself. Shot on location in the alleys, cemeteries and catacombs of Paris. Watch for free on Film Shortage.

Head of the CID and his colleagues are investigating a serious crime but the main witnesses are of no help.

Claude Conseil lives with her husband in a house in the middle of the woods. She spends her time listening to birds. One day, mysterious phone calls break the calm of the forest.

A quirky receptionist in a hotel in Istanbul welcomes guests as they tumble upon their daily struggles, all to end up in a mix of chaos and dread after the arrival of a mysterious man who declares that he is their patron Saint.

A leading director of the Czech film renaissance provides a philosophical meditation on life and death, set amidst complex hospital apparatus and the sadness, hope, or resignation of the patients. Existentialist rather than optimist, the approach is one of humanistic atheism, accepting death as part of life. Interviews with doctors and nurses explore their outlook; all speak of death as a fact, without either sentimentality or religiosity. The studied objectivity of the film only imperfectly hides an intense emotionality.