The story opens just before Christmas, when solitary, apathetic bank clerk Flemming Borck uncovers a plot to rob his bank. After doing a little rookie recon, Borck identifies the would-be bank robber as a faux shopping-mall Santa Claus, and counter-plots to steal the money himself and let Santa take the blame. This works out about as badly as you might imagine, and our bumbling protagonist spirals further and further away from the carefree, laconic lifestyle he had hoped to ensure for himself.

A father is confronted by the sons he had cloned decades earlier. Based on a play by Caryl Churchill.

A group of 20-somethings stage their own 1990s version of The Big Chill by engaging in a frenzied weekend of bed-hopping.

On June 21, 1941, the artists of the traveling circus tent under the direction of the famous hypnotist Andrei Belov, who performs under the pseudonym the Great Armando, give their first performance in a small Latvian town. During the performance of the number under the dome, Belov's wife, the aerial equilibrist Elsa, sees a little girl among the audience, meets her eyes, loses her balance and falls into the arena. This girl is a copy of Masha, the daughter of Elsa and Belov, who died five years ago.

elebrated photographer Martin Parr travels around England during the summer of 1998, armed with a DV camera and a mission to define 'Englishness' through the nation's subjects. Think of England (tx. 27/4/1999), shown as part of the BBC's Modern Times series, continues Martin Parr's project, documented over thirty years as a Magnum photographer, to expose the eccentricities and casual bigotry of England's white 'moral majority'. The film's rainswept resorts, dual-carriageway picnics, and village-of-the-damned fetes are unmistakably English, but Parr's surrealistic style (ugly close-ups of a bulging bicep with blurred "Liz" tattoo, or the naked lunch of a cardiac-inducing Sunday roast) is more reminiscent of American photographers Garry Winogrand and William Eggleston, and film-maker David Lynch. For example, a day-glo red rose in Think of England, adrift in a concrete garden, echoes Blue Velvet's (US, d. Lynch, 1986) suburban nightmares, yet here the national symbol is transformed into a powerful metaphor for a falsely proud and isolated island. Like Lynch, Parr has been accused of trading warmth for wit and turning humans into laboratory rats under microscopic inspection. Certainly, Think of England (the "lie back and..." allusion of its title is an early clue to Parr's satirical intentions) is a far cry from the so-called objectivity of the "observational style". Rather, it is a highly subjective state of the nation address, a portrait of England's white tribes as terrifyingly insular, racist (whether the working-class Wolverhamptonian who tells Parr, "Do what Enoch Powell says, send 'em all back" or the Hooray-at-Henley who bemoans the sale of his beloved Rolls Royce to BMW: "the Germans"), and full of empty jingoism. "We won two world wars and one world cup," barks a youth as if on autopilot, to which his friend replies, "All we're good at is moaning." While Think of England touches cursorily on sexual politics and the North/South divide, Parr's subjects are ultimately of a type, united under a Union Jack and a permanently grey sky. As the film reaches its climax on Blackpool pier, biblical storms whistle up mini-skirts and candyfloss crashes to earth. "I love it. Reminds me of my childhood," insists a woman bent double by the gales. It's the kind of 'English dottiness' much beloved of British film and TV, that usually signifies heroic endurance or, at worst, lovable eccentricity; here, it's a symptom of pathological self-delusion, patriotism as the last refuge of a nation. -- Joe Sieder

Layla fights daily against urges and compulsions, until challenged to face her darkest fears.

A young woman tormented by murderous dreams decides to call a psychiatrist for help but accidentally dials a desperate out -of-work actor.

A man relates the story of his friend, racing driver John Bridgnorth, whose death may have been the final act of an ancient family curse.

Short documentary about Twin Peaks: The Return.

When their famous father dies, two ambitious sisters vie for glory in the family folk band as they plot their way to solo stardom—one song at a time.