High school teacher Cheng looks back to his repressed childhood memories, as he finds an anonymous suicide note in the classroom. He strives hard to prevent another tragedy from happening, meanwhile facing a series of family problems, his wife is divorcing him, and his father is dying.

During the first half of the 19th century, in a vast and desolated land fallen into anarchy, several armed groups drift along the infinite Pampas demanding support and food from the peasants. Even if they are bitter rivals, they all claim to pledge allegiance to the “movimiento”. Among these gangs is one led by Señor, an educated man who, with two of his followers, intends to found a peaceful new order. But while his enchanting words and manners seem appealing, his methods reveal an unstoppable thirst for power.

Ten top comics hit the stage to celebrate the 60th anniversary of The Improv comedy club in this special featuring archival footage of iconic performers.

Based on Érico Verissimo's literary trilogy, Time and the Wind follows 150 years of the Terra Cambará family and their opponents, the Amaral family. The struggles between the two families begin in the missions and lasts until the end of the 19th century. The film also features the period of formation of the state of Rio Grande do Sul and the dispute of territory between the Portuguese and Spanish crowns.

1919: the World War is over. Kay Conway celebrates her 21st birthday and all the family look forward with hope and confidence. Then Time begins to conjure with them and offers a dark glimpse of what the future could really bring.

A young coach turns a losing high school football program around to go undefeated for 12 consecutive seasons.

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.

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.