Ale, a deeply disturbed young man subject to seizures, benignly decides to murder members of his dysfunctional family for altruistic reasons.

In the deep Sardinia of the 1940s, at the age of five, little Gavino is forced to drop out of school after only two months because he now has to help his father keep the animals. He thus grows up in isolation, far from human society. It is thanks to military service at the age of 21 that he can escape his father's grip. He learns to read, which is for him a revelation (he will become a linguist), and when he leaves the army, he rejects the report of quasi-slavery imposed by his father.

Argentina in 2016: in a remote region in the north of the country live about 700 Mennonites from Germany as in the 18th century. They speak old German and live from agriculture and cattle breeding. But is it really possible to refuse development?

Georg and Anna are around 80, cultivated music professors in retirement. The daughter, also a musician, lives abroad with her family. One day Anna has a seizure - it is the beginning of a test for the love of the two.

Rike is forty, she is a successful doctor whose job demands everything of her. She intends to use her much-needed annual holiday to fulfil her long-cherished dream of sailing single-handedly from Gibraltar to Ascension, a small tropical island in the middle of the Atlantic. Her desire for a carefree holiday seems to be coming to pass but then, after a storm, her beautiful adventure suddenly turns into an unprecedented challenge when she spots a badly damaged, hopelessly overloaded refugee boat nearby. More than a hundred people face drowning. Rike tries to organise help, but she increasingly feels that humanitarianism has deteriorated into mere wishful thinking. Wolfgang Fischer’s film depicts a struggle for survival at sea which makes palpable the cruelty of the situation for people in dire straits whose fate is determined by others. The ocean becomes the scene of an allegorical, existential drama.

Four Sicilian episodes after the 'Novelle per un anno', in which Nobel Prize winner Luigi Pirandello wrote down earthy and extraordinary stories that his governess once told him. The Vienna Film Museum writes: "What remains incessantly perceptible in these tragic, lyrical and grotesque episodes about painful mothers, moon-addicted farmers, rebellious shepherds, fools and shawls is the powerful, sweeping lust for narration, the infatuation with the glare of day and night, the passion for sensuous, pasty pictures and the love for the country and its creatures. In the fifth episode, which talks abou Pirandello himself, the film comes to life. A journey into childhood. A down-fall over the white, wonderful sand cliffs of Lipari to the sea, which is drunken blue and green: a moment of happiness, a lust that does not want to end".

Reza (35), having distanced himself from the urban quagmire, leads a simple life along with his wife and sole child, somewhere in a remote village in Northern Iran. He spends his days working in his gold fish farm. Nearby, a private company with close links to the government and local authorities, has taken control of nearly every aspect of the regional life. Its shareholders, accumulating wealth, power and economic rents, have been pushing local farmers and small owners to dilapidate their belongings, farms and estates, to the benefit of the Company's in influential network and its monopoly. It is under their pressure that many villagers have themselves become local rings of the larger network of corruption. Meanwhile, Reza strives to resist coercion and preserve his farm. Soon though, he will realize that he can no longer stand up to this powerful, yet hidden, coercive web of corruption. Giving up, he decides to sell his property and move away. The Company however, decides to raise the stakes.

Twenty-seven-year-old Noriko lives with her widowed father, a university professor, in a small house in the tranquil surroundings of northern Kamakura. He is completing a scientific manuscript, aided by his assistant, Hattori. Professor Sonomiya is concerned for his daughter s welfare, and one day suggests she marry Hattori. Noriko only laughs at his suggestion because she is quite happy with her life and knows that Hattori is already engaged. Her aunt Masa, the professor s sister, is the next person to try out her matchmaking skills, and she talks Noriko into meeting Mr Satake. Although Noriko quite likes him, she rejects all thoughts of marriage because she doesn t want to leave her father all alone. When she meets Professor Onodera, an old friend of her father s, in a museum one day and he tells her that he has just remarried, Noriko can hardly disguise her dismay. One of Ozu's favorite themes is the opposing desires of and friction between members of a family even though they feel deep affection and loyalty to each other. Inevitably, these interactions within a family, and particularly the problems which arise between parents and children, will result in some sort of separation. For Noriko it is the separation of marriage, in other Ozu stories it may mean being employed away from home or death. While Ozu is saddened by these events, he also recognizes that they are unavoidable. This awareness of the inherent transience and sadness of human existence is what the Japanese call mono no aware." Beverley Bare Buehrer

A military explorer meets and befriends a Goldi man in Russia’s unmapped forests. A deep and abiding bond evolves between the two men, one civilized in the usual sense, the other at home in the glacial Siberian woods. The film won the 1976 Oscar for Best Foreign Language Film, the Golden Prize and the Prix FIPRESCI at the 9th Moscow International Film Festival and a number of other awards.

Vicente is a young, reckless loner who comes back to his parents’ beach house after a year studying in LA. One of those random nights of downing shots and chasing girls changes his life forever when Vicente becomes the prime suspect in a hit-and-run that kills a local fisherman. Vicente was wasted. His memories are a blur. Yes, he was in the car, but he swears he wasn’t driving. And what’s worse, the guy he remembers being behind the wheel is the son of a powerful politician. A tangled web of lies engulfs the truth, crushing out a social scandal before it can begin.

LANDSCAPE IN THE MIST is a film about the void. It is a film about despair, about the failure of contemporary society. The prodigal father who figures in almost every Angelopoulos film here has evaporated into his mythical essence - leaving his children to become the wanderers in search of him. In the «chaos», two children appear, little Alexandros and his older sister Voula. In order to exorcise their loneliness, they invent a secret universe for themselves, inhabited by their dreams. Every night they go to a train station to watch the departure of a train to Germany, where they have been deceived by their mother (herself an off-screen presence) into believing that their absent father is living. One night they finally dare to get on the train. But their voyage turns out to be hazardous and pointless and disappointing. They confront suffering, physical and moral illness, jealousy, evil and death, if also love - as many ordeals and rites as initiations. Evading the half-hearted pursuit of the police and uncaring relatives, sneak onto trains, hitchhike in vans and lorries, and suffering poverty, rape and exploitation, take a dangerous leap of faith, an eerie plunge into liberation and danger. The familiar Greek landscape - the cafes, the depopulated towns and deserted beaches - are played for a strangely harsh fairytale quality, seen through the eyes of two children whose introduction to the real world borders on the surreal. The film is filled with extraordinary, unforgettable moments that are at once real and hallucinatory and contains intriguing references to other Angelopoulos' films. The children even encounter the Travelling Players now, thirteen years later, without a stage to act on, their costumes put up for sale. At the end Alexandros tells Voula the same story from Genesis that she told him at the start: «In the beginning there was chaos.» The children do finally reach the border, but of course there is no border with Germany and perhaps the river they cross is actually the Styx and perhaps their whole journey was a search for order in a chaotic world.

The collected work known as "One Thousand and One Nights" survived for centuries through generations of Arab storytellers, and is now recognized as an integral part of world literature. In this filmed performance, storyteller/filmmaker Nacer Khemir sits on chair in the middle of a dimly lit stage and deploys the magic of words to take us on a journey of the imagination. This simple set-up may not seem like much, but it offers the listener an extraordinarily colorful experience and brilliantly emphasizes the oral nature of the work. As we listen to the expertly told stories, we are equally charmed by their intricacies and entranced by their interconnectedness. Even though Khemir illustrates some of the stories with beautifully filmed sequences, the audience's ability to listen is paramount here. Sheherazade used words to avoid impending death, Khemir uses the art of storytelling to breathe a new life into this ancient masterwork.

«Tatjana, Take Care of Your Scarf» is a road-movie about the unbelievable adventures of two Finnish men, driving a black Volga station wagon through Southern Finland some time in the mid-sixties. Valto, the owner of the car, drinks enormous amounts of coffee, Reino, a mechanic, drinks booze and blabbers endlessly. Already at the early stages of the journey, two ladies come along, one Estonian, the other Russian, and, in spite of understandable difficulties in communication and the obvious incapability of our men to approach the opposite sex, this absurd comedy gains, towards the end, some sentimental tones. A film about the amazing state of mind of the Finnish man, and an almost surgically cutting investigation into the Finnish-Estonian- Russian relationships.

Renowned old musician Mamo has been granted permission to perform a concert in Iraqi Kurdistan. His faithful friend Kako will drive a school bus and help gather together Mamo's ten musical adult sons, scattered throughout Iranian Kurdistan. Mamo is determined to make this trip across the majestic landscape despite all obstacles. The old Kurdish musician has waited some 35 years for the chance to perform freely again in Iraqi Kurdistan. Mamo even ignores his son's premonition that something awful awaits him before the next full moon. Mamo is convinced that the essence of the upcoming performance is the celestial voice of a woman. He has chosen Hesho, who lives in a mountain retreat with 1334 other exiled female singers. Old Mamo must persuade reluctant Hesho to join them, because her self-confidence and voice have been weakened by oppression. Since women are forbidden to sing in front of men in public in Iran, Hesho must be carefully concealed in the bus. The journey of Mamo and his musical group is not without difficulties. But persistent Mamo guides everyone toward adventure, emotion and magic ...

During an excursion, a family from the big city discovers an old farmhouse. They spend their holidays there and would love to buy the house. The owner, an old farmer, seems to agree, only he wants to determine the time of the sales himself. In the meantime, the two children become friends with the old farmer. Tom Milne writes in Time Out: "After five years of political disgrace, Jiří Menzel was still cautious and skilfully avoided any dangerous engagements or interpretations in Seclusion Near a Forest. It is a feather-light comedy about the difficulties of living as a city family in the countryside (...). The excellent camera work casts a shimmering, summery haze over the fine mixture of tenderness and humour with which Menzel typically observes human weaknesses - making the film a magical conjuration of a lost, simpler and more relaxed world."