The members of a reading group exchange cultural and literary references with such vigor that there’s little room for anything else: an attempt to leave the modern world behind or merely their own solitary existences?

Richard Davalos plays Rick Bowman, a drag racing street punk who comes to the attention of car enthusiast Grant Willard. Willard bails him out of jail and offers him sponsorship as a race car driver. Bowman eventually accepts and becomes entranced by the tricky “figure eight” track Willard introduces him to. The king of the track is cocky and talented hot dogger Hawk Sidney (Hill regular Sid Haig in one of his most memorable and entertaining roles). Bowman and Sidney clash and Bowman sets his sights on knocking the latter of his perch while stealing his girl Jolene. This is just the beginning for the ruthless Bowman who will let nobody stand in his way and will attempt to destroy any man, and seduce any woman who crosses his path. Pretty soon he has his eyes on Ellen McLeod the wife of champion racer Ed McLeod who he befriends. Will he betray his friends and colleagues on the eve of The Big Race, or will he finally discover he has a conscience?

In Berlin 1942, Hilde is a member of an anti-Nazi group. She falls in love with another member, Hans. The two spend a summer together until they get caught by the Gestapo and Hilde is imprisoned, eight months pregnant.

In WWII Western Germany, Private David Manning reluctantly leaves behind a mortally wounded fellow soldier and searches for survivors from his platoon, only to learn from commanding officer Captain Pritchett that they have all been killed in action. Despite requesting a discharge on the grounds of mental disability, Manning is promoted to sergeant and assigned to lead a new platoon of young inductees.

During the final days at the Yankee Pedlar Inn, two employees determined to reveal the hotel’s haunted past begin to experience disturbing events as old guests check in for a stay.

“Tomorrow’s Promise is a film about vacantness. Which physically does ‘begin’, reversed, upside down on the screen […] suddenly another such position is taken (not in reverse), this time by a male figure and soon, in this same section, the girl of the reversed image reappears posed in a different way; a way obsessed by ‘mood’. Then a technical play of in-the-camera-editing occurs, more intense, brighter than in the first, reversed section. There are several inter-cuts which serve, in this and each subsequent section unto the end, as relative links into the final section: which is actually the ‘story’. The story the protagonist and her hero try to tell in their way is apophysis; except that ‘pictures’, clear visions take the place of words. My film could have been edited with precise tensions and a lucid straight narrative, but it was my aim to ‘re-create’ the protagonist of my personal life.” – Edward Owens

A drama based on the experiences of Agu, a child soldier fighting in the civil war of an unnamed African country. Follows the journey of a young boy, Agu, who is forced to join a group of soldiers in a fictional West African country. While Agu fears his commander and many of the men around him, his fledgling childhood has been brutally shattered by the war raging through his country, and he is at first torn between conflicting revulsion and fascination Depicts the mechanics of war and does not shy away from explicit, visceral detail, and paints a complex, difficult picture of Agu as a child soldier.

A woman’s life is turned upside-down when a dangerous man gets a hold of her lost cell phone and uses it to track her every move.

With only three weeks left in his three year contract, Sam Bell is getting anxious to finally return to Earth. He is the only occupant of a Moon-based manufacturing facility along with his computer and assistant, GERTY. When he has an accident however, he wakens to find that he is not alone.

Far from Tel Aviv and big city crimes, Daphna, 40, a promising police officer with a big mouth, finds herself in the small town of Afula dealing with petty crimes, seeking shade from the scorching heat and dodging the nagging question:” When are you going to get married, and have kids?”. The disappearance of Orly Elimeleh, a beautiful and wild 36 year-old army widow and former beauty queen, soon raises another troubling question for Daphna – why isn’t anybody looking for her? This indifference towards Orly’s uncertain fate shakes Daphna to the core. Matan, the younger 34 year-old son and “black sheep” of Orly’s late husband’s family, seems to be the only one who shares Daphna’s concerns, which pushes her to step beyond her professional boundaries. As her faith both in herself and in everybody surrounding her is called into question, Daphna will have to do something she has managed to avoid her entire adult life : put her trust in a man.

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Amy, an attractive woman, confuses love with money and becomes a victim of the materialistic lifestyle of South Beach. Her relationship with Nick, a down-to-earth, young architect is great, but Amy has dreams that he can’t fulfill and afford. In her search for glamour and a dancing career, Amy meets Sam, an older, married man. Even though Sam provides her with the luxurious lifestyle, she begins to feel a void for love and attention. Unwilling to let go of Sam’s financial support, Amy becomes involved in another relationship with Robert, who grows suspicious. Amy soon discovers that life in South Beach, not everything is as good as it looks.