Jim Lassister seeks the man responsible for his sister's death. His quest draws him into an insular community ruled by an uncompromising charlatan and his brutal riders.

Riddle is a young man who lost his companions to a mysterious group known as the "Box of Malice." On the brink of despair after 1,000 years, Riddle finally learns to reverse time. With a thousand years of knowledge and experience, the Great Sage Riddle journeys to the past.

The film involves the life of a young man who comes to believe that he has been bestowed supernatural powers. As the story unfolds, this boon eventually leads to a tragedy.

Three digital short films: 'Worldly Desires' by Apichatpong Weerasethakul, 'Haze' by Tsukamoto Shinya, 'Magician(s)' by Song Il-Gon

Matveev, a former illegal GRU agent in the U.S., and his wife arrive at a Turkish ski resort posing as ordinary tourists. There, they are supposed to meet with one of the Russian sleeper agents. But the CIA sets up a provocation against Matveev.

Documentary about the invention of MORF, the program for morphing, which was created for the film Willow (1988).

The journey of She and Loverboy – a dealer of the sacred flower’s seeds. Led by the invisible force of the kidnapper, she is soon caught in a delusion of their strangely automatic, lonely honeymoon

Explosive bursts of fire open Technology/Transformation, an incendiary deconstruction of the ideology embedded in television form and pop cultural iconography. Appropriating imagery from the 1970s TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman's symbolic transformation into super-hero. Entrapped in her magical metamorphosis by Birnbaum's stuttering edits, Wonder Woman spins dizzily like a music-box doll. Through radical manipulation of this female Pop icon, she subverts its meaning within the television text. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative — Wonder Woman deflects bullets off her bracelets, "cuts" her throat in a hall of mirrors — distilling its essence to allow the subtext to emerge. In a further textual deconstruction, she spells out the words to the song Wonder Woman in Discoland on the screen. The lyrics' double entendres ("Get us out from under... Wonder Woman") reveal the sexual source of the superwoman's supposed empowerment: "Shake thy Wonder Maker." Writing about the "stutter-step progression of 'extended moments' of transformation from Wonder Woman," Birnbaum states, "The abbreviated narrative — running, spinning, saving a man — allows the underlying theme to surface: psychological transformation versus television product. Real becomes Wonder in order to "do good" (be moral) in an (a) or (im)moral society."

Explosive bursts of fire open Technology/Transformation, an incendiary deconstruction of the ideology embedded in television form and pop cultural iconography. Appropriating imagery from the 1970s TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman's symbolic transformation into super-hero. Entrapped in her magical metamorphosis by Birnbaum's stuttering edits, Wonder Woman spins dizzily like a music-box doll. Through radical manipulation of this female Pop icon, she subverts its meaning within the television text. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative — Wonder Woman deflects bullets off her bracelets, "cuts" her throat in a hall of mirrors — distilling its essence to allow the subtext to emerge. In a further textual deconstruction, she spells out the words to the song Wonder Woman in Discoland on the screen. The lyrics' double entendres ("Get us out from under... Wonder Woman") reveal the sexual source of the superwoman's supposed empowerment: "Shake thy Wonder Maker." Writing about the "stutter-step progression of 'extended moments' of transformation from Wonder Woman," Birnbaum states, "The abbreviated narrative — running, spinning, saving a man — allows the underlying theme to surface: psychological transformation versus television product. Real becomes Wonder in order to "do good" (be moral) in an (a) or (im)moral society."

H+: The Digital Series is a web series produced by Bryan Singer and created by John Cabrera and Cosimo De Tommaso. The series, which touches on the subject of transhumanism, premiered on August 8, 2012 on YouTube with two episodes. Two new episodes were then released every week on Wednesdays until the season finale on January 16, 2013.