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Wynne, who is suffering PTSD from the death of her fiancé, starts seeing disturbing images on her cell phone about her future. If she doesn’t figure them out in time, she will die.
One morning, when Riley (Chantel Little) should be at classes, her mother Angie (Maissa Houri) hears a cellphone ringing from her bedroom, soon to discover Riley left her phone behind. She answers what is Riley’s best friend Mackenzie’s (Willow Mcgregor) third attempt to reach someone. After Angie asks if Riley is with her, she realizes Mackenzie was about to ask the same thing. Shortly after, Angie checks the main closet and finds Riley’s shoes are still there. Did she leave in the middle of the night or vanish into thin air? Riley’s circles paint a picture of the events surrounding her disappearance while exploring leads in what becomes a harrowing mystery of twists, turns, and answers that poses the question: Was it better to not know what really happened after finding out the truth?
Back in the 80s, Camp Pocumtuck was one of the strictest and most-religious summer camps ever known. It was forced to shut its doors when a young girl was struck by lightning. Before that, it was the site of a Native American massacre. And before that, several women were burned at the stake for being witches. Nowadays, Mia’s friends are not too keen on transforming this dilapidated summer camp into the wedding venue of her dreams. Mia’s wound a bit too tight and somewhat of a control freak. Her gay BFF has the hots for all the groomsmen and her maid of honor just wants good cellphone reception. Even worse, she accidentally sent an email invite to her annoying high school friend whom she hasn’t seen in years. But nothing will stop Mia from having a perfect wedding, not even when people begin disappearing in the night, and especially not when a spirit-possessed Teddy Ruxpin starts telling her to hide the bodies.
After best friends Black and Blue’s restaurant is shut down, Black needs to find some cash — fast. He thinks his luck has turned when Blue’s son, Fatboy, and his best friend, Spyda,, bring him a stash of stolen cellphones, and Black decides to sell them on the streets. There’s only one problem: The boxes with the phones also contain the Colombian cartel’s stash of Molly, which Spyda decides to sell.
A respectful nod to classic kids-in-peril adventure films that finds a group of reluctant kids stranded overnight in an abandoned jail. Their chaperon is missing, their cellphone service is non existent, and their patience with each other is running thin. Oh, and a big, hairy creature is trying to eat them. Hey… it’s tough being a kid in a monster movie.
College student Tracy (Laura Lee Black) has just received an assignment to write a report on her favorite film genre. In her research she discovers a book, now Tracy is taken into three interlocking tales of the unexpected. First in THE VAT, two women (Jenny Coulter / Rodney Horn) are harassed by a religious fanatic (Angie Keeling) about their worldly ways. When the bible thumping hypocrite threatens violence, chaos takes it’s toll. Next in BIG DEBBIE, a robust woman (Rodney Horn) is abandoned at the altar, she runs into two guys that use her to fulfill their odd sexual fetish. When one accidentally dies, they’re forced to get rid of the body… the only problem: a woman on the edge (Rachel Stout) witnesses the ditching and blackmails them into killing her cheating girlfriend (Kelli Ellis). Finally in INGLOURIOUS BITCHES, a quirky pair of female vigilantes (Douglas Conner / Brian Dorton) use an app on a cellphone to track down and murder sex offenders.
A schoolboy uses his cellphone camera to shoot intimate interviews with people working at a New York fashion house and secretly posts them on the internet. Result: a bitterly funny expose of an industry in crisis, during a week in which an accident on the runway becomes a murder investigation, and denial leads to devastation.
Advertising execs Melanie Welsh and Donovan Goodwin disagree on a cellphone Christmas commercial they’re pitching. He says his sleek design will win over the client but she knows it lacks holiday spirit.
Since 2008, albinos in Tanzania have become human targets. Witch doctors offer huge sums of cash for their body parts to be used in magic potions. From 2008 to 2010, more than 200 witch-doctor inspired murders occurred. As a local saying goes: “Albinos do not die, they just disappear.” This is the story of Alias, an albino boy on the run. After his father’s murder, his mother sends him to the city. His uncle Kosmos, a truck driver, takes care of him. Alias learns fast in the city, selling sunglasses, DVDs and cellphones, it will not take long before the boy experiences at first hand the difficulties of life and of being different.
A group of friends in a Tel Aviv suburb get together to watch Universong, a Eurovision-like television song contest. They gather to watch and are depressed by the lifelessness of the Israeli entry, a parody of many recent offerings, a flashy, grating song about “amour.” Realizing that Anat is distraught over the crisis in her marriage, they decide to compose a song to cheer her up. As a lark, they enters their cellphone video of it in next year’s contest, and it becomes Israel’s entry.
For years, Miles Lagoze served in Afghanistan as a Combat Camera, shooting footage and editing videos for Marine Corps recruiting purposes. In this devastating film, Lagoze assembles his own footage and that of his fellow combat cameramen into a never-before-seen look at the daily life of Marines from the ultimate insider’s point of view. More than a mere compilation of violence, the edit ingeniously repurposes the original footage to reveal the intensity and paradoxes of war in an age of ubiquitous cameras, when all soldiers can record themselves with helmet-cams and cellphones. Combat Obscura revels in the chasm separating civilian from military life and questions the psychological toll war exacts on all that it touches
