Tatsumi celebrates the life of Japanese comic artist, Yoshihiro Tatsumi. As he becomes successful, he redefines the manga landscape with an alternative genre for adults-and his work plunges into the darker aspects of life.

Juan and Natalia are an obviously wealthy couple with two small children, Rut and Eleazar, who have bought a beautiful property on the countryside. While the children enjoy the life in nature, there are ruptures in the relationship between the parents, misunderstandings, reproaches, which are mainly about the sexual life of the two, which Juan finds boring and listless. Juan also sometimes shows strange impulses to beat up the dogs that belong to the property - preferably one of the animals, the one he loves the most. The longing for an idyll and for a life in harmony with nature turns out to be deceptive, because the house is haunted (literally and figuratively) by a demon.

Paterson is a bus driver in the city whose name her shares: Paterson, New Jersey. Every day, he drives his route and observes the city as it drifts across his windshield. During his lunch break, he writes poetry into a notebook. In contrast to Paterson's steady routine, his wife Laura's world is constantly changing. New dreams come to her almost daily, each a different and inspired project.

When an African boy arrives by cargo ship in the port city of Le Havre, an aging shoe shiner takes pity on the child and welcomes him into his home.

Zama, an officer of the Spanish Crown born in South America, waits for a letter from the King granting him a transfer from the town in which he is stagnating, to a better place. His situation is delicate. He must ensure that nothing overshadows his transfer. He is forced to accept submissively every task entrusted to him by successive Governors who come and go as he stays behind. The years go by and the letter from the King never arrives. When Zama notices everything is lost, he joins a party of soldiers that go after a dangerous bandit. Adapted from Antonio di Benedetto's 1956 classic of Argentinean literature.

Makoto Shinjo, a teenager who is a little lost in search of experiences, sometimes agrees to take "little tricks" with strangers in the car. One day, she meets Kiyoshi Fujii, half student, half offender, who saves her from an overly enterprising motorist and takes money from her at the same time. Having become friends during a walk, Kiyoshi, listening only to his desire, raped her. However, Makoto decided to leave his parents to live with him. To live, they will practice the scam and blackmail to which the indelicate motorists who have been enticed by Makoto will be subjected. "It's the story of young people who only manage to express their anger in a deviant way. By showing the tragedy of these young people, I expressed my own anger at the situation facing the current youth." Nagisa Oshima

In this powerful early noir from the great Akira Kurosawa, Toshiro Mifune bursts onto the screen as a volatile, tubercular criminal who strikes up an unlikely relationship with Takashi Shimura’s jaded physician. Set in and around the muddy swamps and back alleys of postwar Tokyo, Drunken Angel is an evocative, moody snapshot of a treacherous time and place, featuring one of the director’s most memorably violent climaxes.

Kurosawa's favourite actor of the early years was Toshiro Mifune. Here he plays the famous painter Ichiro Aoye, who spends his holidays in the mountains and meets the young singer Miyako Saijo. They live in the same hotel and spend some time together. Two reporters photograph them together and publish the pictures in a tabloid magazine - in revenge for Saijo's refusal to give them an interview. The scandal was there, and the painter's lawyer is bribed by the editor-in-chief of the magazine to get money for his seriously ill daughter. Kurosawa puts characters in situations in which it is difficult for them to make a decision. Akira Kurosawa: "After the war Japan experienced something new: freedom of the press. Of course, it was quickly abused. A relevant mass press thought it had to arouse readers' curiosity and trigger scandals with shamelessly vulgar articles. This tendency had to be stopped, that gave the impulse to my film."

Jo, a witty 9-year old terminally ill girl is taken back to her rural village to live out the rest of her short life. Her only comfort during these dull times are her dreams of being a Superhero, which prove to be something her rebellious teenage sister Mwix, overprotective mother Kathryn and the entire village of Maweni think they can fulfill.

Mired in the nervous desperation of Havana, Raul dreams of escaping to Miami. When accused of assault, his only option is to flee Cuba. He begs his best friend, Elio, to abandon everything and help him reach the forbidden world 90 miles across the ocean. Elio’s commitment is tested when he is torn between protecting his twin sister and his own desire to get out. Brimming with the nervous energy of Havana’s restless youth and the evocative cinematography of the sun-bleached capital, UNA NOCHE follows one sweltering day, full of hope and fraught with tension, that burns to a shocking climax.

While working on a story in the border area, a young journalist discovers a divided town bisected by a river which is also the national frontier. He observes a surreal wedding in which the bride and her family stand on one shore and the groom and his relatives on the other, lost under a cold sky: figure in a landscape who only delude themselves that they are masters of the earth and their destiny The town, a remote ghost town, almost forgotten at the end of the world, has been named «waiting room» by the locals because most of its inhabitants are refugees from different countries many of whom have crossed the border illegally at some time or other and are now waiting for their turn to leave and start life anew «somewhere else.» In the course of his investigation he also comes upon an aging, reclusive refugee, who lives there cultivating a field. But the young journalist believes he is a famous Greek politician who disappeared years before, leaving behind him many unanswered questions. The man's identity is never resolved but the hapless refugees and divided village allow the reporter to understand his despair over the human condition. Theo Angelopoulos weaves yet another poetical allegory on the great open questions of our turbulent age. The film is very contemporary in its treatment of borders, refugees and a changing world since the fall of communism in Eastern Europe and the former Soviet Union. «Being a refugee is an internal condition more than an external one, says one of the characters in the film. And later on he also says, «We've passed the borders but we're still here. How many frontiers do we have to pass to get home?» Do politicians really care? Does anyone? Finally, there is the image of the stranger standing on the bridge poised over the dividing line between the two countries. He has one leg suspended in mid air, like a stork. «If I take one more step I am... somewhere else, or... I die.»

A Greek-American filmmaker, known simply as «A», returns to his hometown in northern Greece for a screening of his latest controversial film. His real reason for coming back, however, is to track down three long-missing reels of film by Greece's pioneering Manakia brothers who in the early years of cinema traveled through the Balkans, ignoring national and ethnic strife and recording ordinary people, especially craftsmen, on film. Their images, he believes, hold the key to lost innocence and essential truth, to an understanding of Balkan history Thus he embarks on a search that takes him across the war-torn Balkans, a landscape of spectral figures and broken dreams, right to the heart of darkness: a damaged film archive in Sarajevo where his quest ends. Like a latter-day Ulysses he finds his «Ithaca», the missing, undeveloped film and is at last united with the work of the Manakia brothers... his gaze communes with theirs and another journey begins.

At the end of the 1950s in the sleepy English coastal town of Hardborough: Florence Green dreams of opening her own bookshop. Her love of books is the only thing left of her late husband. She is willing to invest her entire fortune and all her strength in making this dream come true. The initial scepticism of the villagers gives way to increasing interest as Florence also sells progressive and controversial works such as Nabokov's "Lolita" and Bradbury's "Fahrenheit 451". The young widow finds a faithful friend in Mr. Brundish. The educated gentleman lives in seclusion and shares her passion for reading. But she also has a dangerous opponent - the old-established grey eminence of the village, Violet Gamart...

The filmmaker explores the life and work of the Austrian novelist, playwright and political activist, Peter Handke. The titles of his books sound like the tunes in a jukebox: Offending the Audience and Other Spoken Plays, The Goalie’s Anxiety at the Penalty Kick or A Sorrow Beyond Dreams. In the 1960s, he was the definition of a “pop star” author. Yet as soon as he started making the bestseller lists, he turned his back on stardom and went travelling, taking his readers along with him, dragging them into the rhythm and precision of his language and into his own examination of reality. As a young man, and still now, in his daily life, Peter Handke never stopped asking: “Where are we now?” and “How should we live?”

After fifteen years of service, Henri Boulanger is dismissed from his job. Shocked, he tries to commit suicide, but can't go through with it, so he hires a hit man in a shabby bar to murder him in the future at an uncertain time. Shortly afterwards, when he falls in love with Margaret, a flower seller, Henri realizes that his life does still have a meaning. But when he goes back to the bar to cancel the contract, he realizes that it has been destroyed - and there is no way he can contact the murderer...

Ilona Koponen (Kati Outinen), a head waitress at Dubrovnik restaurant, is married to Lauri (Kari Väänänen), a tram driver. The couple live in a small, modestly furnished apartment in Helsinki. As they both come home from work late one night, Lauri surprises Ilona with a new television which he purchased on store credit. There is a short discussion between the two regarding their ability to meet their financial obligations but they agree that the TV payments are manageable. Next day, as Lauri gets to work, he learns that the company will be laying off several workers due to non-profitability of certain tram routes and he is randomly chosen as one of the workers to be laid off. The day after Lauri has finished working his last scheduled shift Ilona is informed by the owner of Dubrovnik that the restaurant is being sold to a chain restaurant company and all the employees will be let go since the new company will be bringing in its own employees. Both of them set out looking for work immediately but with discouraging results. Lauri gets offered a job as a bus driver but is unable to pass the medical exam and subsequently loses his professional driver's licence. Ilona gets a job at a rundown bar/restaurant which doesn't even have a name and is owned by a tax evading crook. After 6 weeks of working there, the restaurant gets shut down by the state and Ilona does not get paid by the dishonest owner. During their search for meaningful employment, both Lauri and Ilona enter bouts of heavy-drinking, all the while running into their former co-workers who are dealing with similar difficulties. At one point, the two even sell their car and take the money to a casino in hopes of doubling the money but they, however, end up losing it all. Most of their furniture as well as the new TV that Lauri bought is repossessed by the creditors. One day, Ilona accidentally runs into Mrs Sjöholm (Elina Salo), her former boss. Sjöholm suggests that Ilona should open up a restaurant. Since Ilona does not have the financial means needed for such a venture, Sjöholm agrees to provide the capital for the restaurant to start operating with the understanding that Ilona will pay back the loan to Mrs Sjöholm. Ilona, humbled by her recent experiences, is initially reluctant to accept the offer for fear of the restaurant failing and her not being able to repay Mrs Sjöholm. She eventually does agree. Ilona names the restaurant Work and hires some of the staff from Dubrovnik, including the troubled chef Lajunen (Markku Peltola), plus Lauri. Filled with anxiety during a slow lunch hour on opening day, Ilona's worries quickly disappear as she watches the restaurant fill to capacity later the same afternoon. After receiving a call from a Helsinki union asking for a reservation for 30 people, Lauri and Ilona exit the restaurant and stand on the front steps appearing emotionless and looking at the skies as more people enter the restaurant.

Inspired by the life of Blaze Foley, the unsung songwriting legend of the Texas outlaw music movement that spawned the likes of Merle Haggard and Willie Nelson, Blaze weaves together three different periods of time, braiding re-imagined versions of Blaze’s past, present and future. The different strands explore his love affair with Sybil Rosen; his last, dark night on earth; and the impact his songs and death had on his fans, friends and foes. The braided storyline terminates in an ending that acknowledges Blaze’s profound highs and lows, as well as the impressions he made on the people who shared his journey.

This is the story of a ball. A grand ball. Every summer, more than two thousand people come from accross Europe to dance together, dance even more, during seven days and seven nights, in the countryside of France. A joyful crowd of men and women from all ages, speaking different languages, beginners, virtuosos, enthusiasts. A crowd that reveals how different it is when we dare look into one's eyes, when we dare touch one another. And how life pounds.

At the beginning of the 20th century, a film projectionist tours through Bohemian villages and dreams of opening a cinema in Prague. He allies himself with a young cameraman (played by Jiří Menzel), who in turn has a dream: He longs for true-to-life films that deal with the reality of people. Menzel's Those Wonderful Movie Cranks is one of the most beautiful tributes to the pioneers of the silent era, and the film is also a melancholic reflection on necessary concessions.

Brewery owner Francin lives in a happy marriage with the all too beautiful Maryška. His life is turned upside down by the unexpected visit of his eccentric brother Pepin. Maryška finds a kindred soul in Pepin and falls into the modernization pull of the 1920s, to which she can't help but give in. Shortcuts, the film adaptation of a story by Bohumil Hrabal, became very successful with the audience in Czechoslovakia.

A mistaken delivery in Mumbai's famously efficient lunchbox delivery system connects a young housewife to an older man in the dusk of his life as they build a fantasy world together through notes in the lunchbox.

Japanese film director Hirokazu Kore-eda will compete in San Sebastián for the third time, following Wandarfuru raifu (After Life, 1998) and Hana yori mo naho (Hana, 2006). A family drama about grown children visiting their elderly parents, which unfolds over one summer day. The aging parents have lived in the family home for decades. Their son and daughter return for a rare family reunion, bringing their own families with them. They have gathered to commemorate the tragic death of the eldest son, who drowned in an accident fifteen years ago. Although the roomy house is as comforting and unchanging as the mother’s homemade feast, everyone in the family has subtly changed. This is a typical family, bonded by love as well as resentments and secrets. With a subtle balance of gentle humor and wistful sorrow, Kore-eda portrays just how precious and exactly how annoying family can be.

The head of a shoe factory persuades the army to hold manoeuvres nearby: So his workers can meet men at a ball. But the pot-bellied reservists are anything but attractive. Utilizing a brief hint of freedom, The Love of a Blonde throws an undisguised, humorous and tender look at Czechoslovakia in the 1960s and the ridiculousness of its functionaries.

Although sixteen-year-old Peter would rather lie by the swimming pool watching girls, he instead has to monitor customers in a supermarket to make sure they don't steal anything. He has problems at work, for example when he sees a suspicious customer in a supermarket but doesn't dare to talk to him. At home, he constantly receives teachings from his pedantic father; his girlfriend has laid eyes on someone else. With amateur actors and Jan Nemecek's poetic camera work, young Miloš Forman captures the authenticity of ordinary summer days in a small Czech town in the early 1960s. At the same time he expresses the feelings of awakening rebellion in the youth of the Eastern Bloc, just a few years before the Prague Spring. A seismographic film and a strong contemporary document.