Fueled by original music by members of Guns N' Roses, Bad Religion, No Doubt, Skid Row, Toad the Wet Sprocket, Hootie & The Blowfish and more... The Still Life tells the story of artist Julian Lamont who struggles to pick up the pieces of his tattered life in this poignant drama. A reclusive alcoholic, Julian creates a new art genre called Destructionism, and his works catapult him into the limelight. But as his success in the art world grows, Julian loses touch with the artist he truly desires to be, and his personal life soon tailspins out of control.

A council case worker looks for the relatives of those found dead and alone.

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After their son is stillborn at 24 weeks, Jess navigates an unexpected form of motherhood marked by silent milestones and uncomfortable social encounters, while Max struggles to hold their family together through grief.

Remake of the British-Italian movie "Still Life" [2013]

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Spring equinox 2024: 20 March at three hours, six minutes, twenty-one seconds (GMT). Vattetotsur-mer, in the Pays-de-Caux region of Normandy, Gaza is being bombed. Preservation of living things takes place. 　　[FR] Équinoxe de printemps 2024 : le 20 mars à trois heures, six minutes, vingt et une secondes (temps universel). Vattetot-sur-mer, dans le Pays-de-Caux en Normandie, Gaza est sous les bombes.

The film navigates this aftermath observing the signs of an evacuated civilisation. Marine life is represented in murals and as forms of architectural ornamentation. A dolphin remains still, joyfully stuck in mid air, turned to stone. In contrast to constant life and movement underwater, the other side remains still, quiet, and solid in a concrete-made world. Occasionally, the voices projected from the speakers interrupt these silences to make announcements to visitors. 　　The humans are gone but diverse life forms fill the architectural spaces they left behind. It’s as if amongst this absence the architecture and infrastructure of tourism whispers its own story. The pipes that once supplied aquariums and waterslides now breath notes. The curtains of a once luxurious hotel dance in the ocean rhythm. 　　These spectres of tourism are searched within the process of film production. The filmmakers make audible their casual conversations in which they search for meaning and imagine different lifeforms of the future. It might be relevant that a pandemic was sweeping through our world throughout the film’s production. Perhaps the film is a post-apocalyptic projection of their own remembered economic disasters. As a generation that experienced the false promises of progress and freedom, they also look into their own connections with the island of Capaluco: The collapse of the neo-liberal economy in Argentina and failed American dream to a Filipino immigrant.

Missing in action in Vietnam for thirty nine years, the remains of Lt. Jack E. Buchannon, U.S.M.C., are found and identified. He is brought home and awarded the medal of honor and is buried as a fallen hero. His three childhood best friends, all ex-marines and Vietnam veterans, get together after attending the funeral to raise a toast, look back on their lives, their friendships and their service to the country.

The film navigates this aftermath observing the signs of an evacuated civilisation. Marine life is represented in murals and as forms of architectural ornamentation. A dolphin remains still, joyfully stuck in mid air, turned to stone. In contrast to constant life and movement underwater, the other side remains still, quiet, and solid in a concrete-made world. Occasionally, the voices projected from the speakers interrupt these silences to make announcements to visitors. 　　The humans are gone but diverse life forms fill the architectural spaces they left behind. It’s as if amongst this absence the architecture and infrastructure of tourism whispers its own story. The pipes that once supplied aquariums and waterslides now breath notes. The curtains of a once luxurious hotel dance in the ocean rhythm. 　　These spectres of tourism are searched within the process of film production. The filmmakers make audible their casual conversations in which they search for meaning and imagine different lifeforms of the future. It might be relevant that a pandemic was sweeping through our world throughout the film’s production. Perhaps the film is a post-apocalyptic projection of their own remembered economic disasters. As a generation that experienced the false promises of progress and freedom, they also look into their own connections with the island of Capaluco: The collapse of the neo-liberal economy in Argentina and failed American dream to a Filipino immigrant.