I'm Not Like You

Two Lions to Venice The two Albanian filmmakers Vani and Kaçi are invited to attend the Venice International Film Festival. They have been close friends since childhood until now on their 60's. At the beginning of the trip from Bari to Venice, they meet two actresses who working in the adult movies industry. From this moment on, the four of them continue the trip to Venice together wich brings a lot of turmoil for the unequal travel company of two conservative Albanians and two open-minded ladies with such different views of life.

Brew Hampshire Brew Hampshire is a documentary about the explosion of craft beer and beer culture in New Hampshire.

The Wreck This is the story of a man, a scavenger on a mission to get an experiment, which will seal his fate into the depth of a wrecked spaceship in the middle of a vast deserted plain.

Private Time Better hope his mom doesn’t catch him in the act.

Chaplin at Keystone Charles Chaplin came to Mack Sennett’s Keystone Studios late in 1913 as a little-known British vaudevillian, and after a year, had not only established his Tramp character, learned to write and direct his own films, and also achieved public recognition as a star comedian. Although Keystone did not publicize its performers by name, standees of Chaplin's likeness outside theaters sufficed to attract audiences. Some of the films, especially TILLIE’S PUNCTURED ROMANCE (1914), remained in theatrical distribution for decades.

Os Fiis...

Os Fiis...

Les reines d'errance

unbookable life Yanti (45) takes care of Mbah Paing (75), her parents who are seriously ill. There is no proper treatment for Mbah Paing because of the economic constraints experienced by Yanti. Yanti was forced to continue to feel the suffering of Mbah Paing. The increasingly complicated problem made Yanti even more depressed and in the end she experienced psychological fatigue.

G A hypnotic and sensual found footage fairytale, edited from propaganda footage about gender equality filmed by local Soviet studios. By organising the material in ironic opposition to quasi-archival logic, Tsyrlina and Iandovka create elliptical and sensual images at the subtle boundary between utopia and satire.