Three women join forces to prevent a sexual harassment complaint against a renowned movie director from coming to light. This controversial mission will take them to the doors of a feminist group named La Aldea, which will take them on an inward journey to heal their patriarchal wounds.

Tae-su, a detective fighting organized crime, returns to his hometown for his high school friend Wang-jae's funeral. There, he meets his old friends Pil-ho, Dong-hwan and Seok-hwan and they reminisce. Suspecting something fishy about Wang-jae's death, Tae-su and Seok-hwan start investigating it, each in his own way. Their investigations lead to a land development project that Pil-ho is directing.

The world strongest man learns how to embrace his mental health challenges by confronting his inner demons and dealing with his biggest failure to date which ultimately changes his life.

In this charming and profound portrait of artistic devotion, celebrated sculptor James Grashow embarks, at age 79, on a four year odyssey to complete his magnum opus: a gigantic, intricate wooden sculpture dubbed "The Cathedral."

Scene 35 can best be described as the point in which the muck hits the fan. It's a scene with unbridled chaos involving CG effects, creature models, stunts, coordination, dramatic character portrayals ... just about anything that could possibly go wrong in a scene. This feature shows how it came to be, how Darabont infused some last-minute ideas into its assembly, and how it wedged in as one of the stronger parts of The Mist.

An unflinching look at the ongoing debate on violence in movies and its effect on the audience.

Min-sang and Yoo-ra is already married for two years. Min-sang lives with his wife Yoo-ra and her sister Yoo-mi. Min-sang used to live alone because his parents died early, and Yoo-ra lived alone with her younger sister after their parents died in an accident. Because of this mutual understanding, when they were introduced to each other through a dating agency, they became attracted to each other, and they even got married... I'm starting to feel more and more like a woman.

"An investigative documentary that takes viewers inside the high-stakes business of boxing. It is an unprecedented look at the inner workings of the fight game from both sides of the ropes with access to the FBI's investigation of the International Boxing Federation and a ringside seat at the contract negotiation for the most lucrative deal in the sport's history."

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).