Young substitute teacher Rómeó Baradlay suddenly inherits homeroom duties for class 4C and struggles to keep order, only to develop feelings for one of his students.

Based on the novel by F. M. Dostoevsky "Crime and Punishment".

In a surreal meeting filled with countless individuals from a variety of backgrounds, nine people recount how sex and sexuality have been used to exert control over their lives. Regardless of race, sexual orientation, nationality, social class, religion, or gender, all are equally shattered and all are equally victims. Those that recount their experiences show that the power / sex dynamic can come in many forms. Whether the power is taken away by physical or psychological means, and regardless of whether it is perpetrated by an individual, institution, or society, the results are equally devastating.

Rå is the story of an initiation. Sixteen-year-old Linn longs to be admitted to her father’s community of hunters. She has long been familiar with the rules of the hunt but has yet to prove herself.

In a surreal meeting filled with countless individuals from a variety of backgrounds, nine people recount how sex and sexuality have been used to exert control over their lives. Regardless of race, sexual orientation, nationality, social class, religion, or gender, all are equally shattered and all are equally victims. Those that recount their experiences show that the power / sex dynamic can come in many forms. Whether the power is taken away by physical or psychological means, and regardless of whether it is perpetrated by an individual, institution, or society, the results are equally devastating.

In a surreal meeting filled with countless individuals from a variety of backgrounds, nine people recount how sex and sexuality have been used to exert control over their lives. Regardless of race, sexual orientation, nationality, social class, religion, or gender, all are equally shattered and all are equally victims. Those that recount their experiences show that the power / sex dynamic can come in many forms. Whether the power is taken away by physical or psychological means, and regardless of whether it is perpetrated by an individual, institution, or society, the results are equally devastating.

高専ロボコン出場を目指す将也は、ある日突然、江戸時代にタイムスリップした――。時は “天保の改革”まっさかり。ぜいたくは禁止され、人形は売ることも作ることもご法度。そんな 時代にからくり人形師の元へ転がり込んだ将也は、江戸時代のロボコンとも言うべき“からくり 人形大試合”に参加することになるが、その裏には大きな陰謀が......!?ご存じ“遠山の金さん” も登場! 歌あり笑いあり切ない恋もある痛快時代劇!

高専ロボコン出場を目指す将也は、ある日突然、江戸時代にタイムスリップした――。時は “天保の改革”まっさかり。ぜいたくは禁止され、人形は売ることも作ることもご法度。そんな 時代にからくり人形師の元へ転がり込んだ将也は、江戸時代のロボコンとも言うべき“からくり 人形大試合”に参加することになるが、その裏には大きな陰謀が......!?ご存じ“遠山の金さん” も登場! 歌あり笑いあり切ない恋もある痛快時代劇!

To the south of the Indian metropolis of Surat in Gujarat province lies a vast industrial zone that has been growing ever since the 1960s. Director Rahul Jain filmed the grueling daily routine in just one of the many textile factories there. In the factory, man and machine seem to have fused into one being. It is dark and dank, and barely any daylight penetrates the space. The labor is heavy and mind-numbing, and the work days seem endless. We are drawn into a gloomy world where the cacophonous beat of machinery sets the rhythm of toil. Jain is as interested in the mysterious connection between worker and product (the fabrics are treated mechanically, but also with love) as he is in the degrading conditions. Each shift lasts 12 hours, for adults and children alike, and wages are extremely low. Short interviews are interspersed throughout the observational sequences, some of which are captivating in their beauty while others are painful to watch – such as when we see a boy nodding violently in his struggle to stay awake. (From IDFA official website)

To the south of the Indian metropolis of Surat in Gujarat province lies a vast industrial zone that has been growing ever since the 1960s. Director Rahul Jain filmed the grueling daily routine in just one of the many textile factories there. In the factory, man and machine seem to have fused into one being. It is dark and dank, and barely any daylight penetrates the space. The labor is heavy and mind-numbing, and the work days seem endless. We are drawn into a gloomy world where the cacophonous beat of machinery sets the rhythm of toil. Jain is as interested in the mysterious connection between worker and product (the fabrics are treated mechanically, but also with love) as he is in the degrading conditions. Each shift lasts 12 hours, for adults and children alike, and wages are extremely low. Short interviews are interspersed throughout the observational sequences, some of which are captivating in their beauty while others are painful to watch – such as when we see a boy nodding violently in his struggle to stay awake. (From IDFA official website)