Things go badly for a hack director and film crew shooting a low budget zombie movie in an abandoned WWII Japanese facility, when they are attacked by real zombies.

Having lost her beloved father at an early age, Yuri lives with her mother and younger brother. Yuri’s mother meets a new man, but they are deeply in debt and forced to leave their home. Yuri is then forced to take a job as a call girl to support her brother. One day Yuri’s brother becomes ill but since Yuri has to work, she unwillingly leaves him at home. When she returns, she finds him dead in the bathtub. Her heart is scarred with regret and she suffers with a pain that will never go away. After some time has passed, Mayu, a colleague of Yuri’s, tells her about a mysterious mobile app that is rumored to enable its user to talk to the dead. Yet, it comes with a warning: Never reply if the dead soul says, “I want to see you.” Because she blames herself for her brother’s death and will do anything to tell him how sorry she is, Yuri downloads the app and reaches out to her dead brother. Meanwhile, the app’s users begin to die.

The study of a youth on the edge of adulthood and his aunt, ten years older. Fabrizio is passionate, idealistic, influenced by Cesare, a teacher and Marxist, engaged to the lovely but bourgeois Clelia, and stung by the drowning of his mercurial friend Agostino, a possible suicide. Gina is herself a bundle of nervous energy, alternately sweet, seductive, poetic, distracted, and unhinged. They begin a love affair after Agostino’s funeral, then Gina confuses Fabrizio by sleeping with a stranger. Their visits to Cesare and then to Puck, one of Gina’s older friends, a landowner losing his land, dramatize contrasting images of Italy’s future. Their own futures are bleak.

A group of teenagers in the desert become the prey of cannibalistic inbreds who live in the nearby hillside.

A compelling biopic about Qi Gong, China’s most prestigious calligrapher and ink painter. This biopic follows the middle and later years of the life of Qi Gong (1912-2005), China’s most prestigious calligrapher and ink painter, whose dedication to teaching his art influenced many generations of artists. A lifelong yet unconcerned victim of forgery (‘they do it better than me’), Qi Gong suffered for his calling, particularly during the Cultural Revolution. Yet throughout his life he showed a tolerance and generosity of spirit that made him a beloved teacher and an icon for traditional Chinese Culture.

The story follows a brilliant engineer whose breakthrough design is stolen and patented by a colleague. When the colleague is found murdered, she becomes the prime suspect.

Paunvere parish school students Arno and Teele, Toots and Kiir, Tõnisson and Imelik experience feelings during one school winter, the traces of which they carry throughout their future lives – from true friendship and first love to self-discovery and clarifying life goals.

Though a childhood bout with polio left him dependent on an iron lung, Mark O’Brien (John Hawkes) maintains a career as a journalist and poet. A writing assignment dealing with sex and the disabled piques Mark’s curiosity, and he decides to investigate the possibility of experiencing sex himself. When his overtures toward a caregiver scare her away, he books an appointment with sex surrogate Cheryl Green (Helen Hunt) to lose his virginity.

Flora Lau’s debut feature is a beautifully formed, subtle film that focuses on the lives of two people with very different prospects – a wealthy Hong Kong woman and her mainland Chinese chauffeur – both trying to cope with life’s unexpected dramas. Anna (Carina Lau) struggles to maintain appearances with her status-conscious friends after her husband mysteriously vanishes. Fai’s (Chen Kun) wife is heavily pregnant with their second child, has no health care entitlements in Hong Kong and cannot give birth in their homeland without incurring penalties for breaching the one-child policy. While their daily routines intersect, their fates only momentarily converge and Lau elegantly critiques the social contradictions at play by paralleling their predicaments rather than constructing drama between the two protagonists. (Source: LFF programme)

A flapper unwittingly falls for the boss’ son.

French Kiss is director Kasdan’s best film since the Bodyguard. The plot involves a couple in love and one woman’s attempt to fly to Paris to get her lover back from a business trip and marry him. On the way she unknowingly smuggles something of value that has a petty thief chasing her across France as she chases after her future husband.

A prodigious young soccer player from rural Queenstown must face the return of his washed-up, pro-footballer father, and navigate the choice between his team’s success and his own dreams.