Arrogant, self-centered movie director Guido Contini finds himself struggling to find meaning, purpose, and a script for his latest film endeavor. With only a week left before shooting begins, he desperately searches for answers and inspiration from his wife, his mistress, his muse, and his mother.

Through the experiences of two women in Paris and London, Ghost Dance offers an analysis of the complexity of our conceptions of ghosts, memory and the past. The film focuses on the French philosopher Jacques Derrida, who observes, ‘I think cinema, when it’s not boring, is the art of letting ghosts come back.’ He also says that ‘memory is the past that has never had the form of the present.’

The untimely death of a young woman sparks interest in (Stella Martin) a flamboyant lawyer with a mysterious past.

Young dancers gather in a remote and empty school building to rehearse on a cold and wintry night. The all-night celebration soon turns into a hallucinatory nightmare when they learn that their sangria is laced with LSD.

Hitler: The Last Ten Days takes us into the depths of der Furher’s Berlin bunker during his final days. Based on the book by Gerhard Boldt, it provides a bleak look at the goings-on within, and without.

Alice is a promising young artist in Paris. Her boyfriend Franck, a boxer, has just moved in to her attic flat. Then her sister Elsa, a bored housewife, leaves her unfaithful husband Thomas and turns up unannounced to stay with Alice and Franck. Elsa disrupts their life by playing psychological games with them, but they cannot bring themselves to throw her out.

During the Korean War, the lieutenant in charge of a Marine rifle platoon is killed in battle. Before he dies, he places the platoon’s sergeant, who’s black, in charge. The sergeant figures on having trouble with two men in his platoon: a private who has much more combat experience than he does, and a racist Southerner who doesn’t like blacks in the first place and has no intention of taking orders from one.

Olka is seventeen years old. For years, she had been looking for her mother. Her constant escapes from the orphanage landed her in a reformatory. She only wants her mother back.

The ‘Hot Potato’ is an exciting new British period ‘caper movie’, in the spirit of ‘The Italian Job’ and ‘Two Way Stretch’ and is based on real events which took place at the end of the 1960s in London’s East End.

Hector has been living on the motorways for years. His once comfortable family life has been replaced by a never-ending tour of service stations that offer him shelter, anonymity, washing facilities and food. The story follows his journey south from Scotland on his annual pilgrimage to a temporary Christmas shelter in London where he finds comfort, friendship and warmth. Over the course of his Homeric journey, Hector decides to reconnect with his long estranged past. As his previous life catches up with him, the story of how he came to be leading a marginal life begins to emerge.

Michael considers himself a genius criminal and plans the big coup. He forms three new gangs who know nothing about each other and each only know part of his plan. In the background Michael pulls the strings and mercilessly plays the actors on his stage against each other. This strategy also poses unsolvable problems for the police until something goes wrong and the house of cards collapses.

Vastly different lives and perspectives become intertwined after a police officer suffering from reoccurring PTSD mistakenly shoots a deaf African-American kid, exposing layers of racial tension and corruption within the political, judicial and prison system.