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Forky Asks a Question: What is Money? Hamm attempts to give Forky a lesson on how the US monetary system works.

An aspiring twentysomething writer hesitantly accompanies her equally reluctant younger sister on vacation with their deliriously happy parents, in Luis De Filippis’ resonant, cliché-free debut feature.

The energetic Peas-n-a-Pod siblings teach Forky about reading and how it is done, with a little help from Mr. Spell

A blind woman's relationship with her husband changes when she regains her sight and discovers disturbing details about themselves.

Scott is a very rich businessman who hangs out with a snooty, silly Countess, but has the hots for Kay who is already engaged to Bill. Scott pursues Kay like crazy, going so far as to buy Bill's oil company so that he can banish him to Japan, leaving Kay unmoored.

Mr. Pricklepants tells Forky about the complexities of being an actor and the art of performance.

Forky shares his thoughts on what makes a good friend based on his limited exposure to the world inside Bonnie’s house.

X, a film location scout, spend his time travelling from place to place looking for filming locations, at the same time that he's looking for funding for the film he wrote himself. In the middle of nowhere, as in the nowhere of his life, he stumbles on Y, the woman for whom he has been waiting all his life.

Based on a theatrical text by Romanian writer Ion Luca Caragiale (1852-1912), who was a bitter and funny witness of the turn-of-the-20th-century Romanian bourgeois mores, Carnival Scenes manages to preserve and further enhance the slightly hysteric atmosphere of his plays. Pintilie creates a strange combination of carnival scenes which is brought to the screen as a burlesque, fast-paced, screwball comedy with a meditative undertone. This film was banned in Romania for a decade until the death of Ceausescu in 1989 and was only released after the 1989 revolution.

In the beginning of the 20th. century Italian actor Guido Guidi, more enthusiastic than talented, and his ensemble tour Texas. The mysterious and obviously rich Peppino Garibaldi gives them an offer, they can’t deny: For a large amount of dough they should play “Richard III.” in the Mexican town Vera Cruz. But Peppino is not really interested in cultural affairs: He supports “La Revolución” and “General” Carasco, who utilizes the feastful premiere of “Richard III.” to raid Vera Cruz for Comandante Zapata. But shortly after the Mexican Army shows up with some canons in tow to sort things out. Guidi and Padre Albino, Italian like him, succeed to flee and save Carasco accidentially from the firing squad. Whereas the latter coninues his revolutionary fight, Guidi and Albino start an odyssey through the struggling Mexico, which lets them fall one time in the hands of Carasco the other time in those of Herrera or even in the clutches of “hand-taking” bandidos.

An active volcano threatens a south Pacific island resort and its guests as a power struggle ensues between the property's developer and a drilling foreman.

I don't know who I am but I know what I'm thinking: images and sounds perceived, when my mind freezes.

Two queer Brazilians go skinny dipping in a lake where they talk about love, sex, colonialism and migration, on a pandemic summer afternoon in Berlin.

Daniel, a young man from the provinces come to the city and moves from one gay subculture to the next. His adventures begin on the streets of Berlin, where the shy brunette Daniel meets the blonde Clemens, who invites him home for coffee and offers him a place to stay. Soon Daniel is living with Clemens and believes he has found the love of his life. The two try to imitate a bourgeois marriage and its lifestyle. But after four months of tedium, Daniel is cruised by a rich older man who entices him to move into his villa, where he encounters a group of older gays, pretentious in their appreciations of fine art and classical music, who fawn over him.

In Shimizu’s sequel to his 1948 masterpiece, a journalist arrives in the secluded foothills of Izu to find a hidden commune to ask, “What happened to the children of the Beehive?” Three years have passed and her question situates itself not only in the realm of Shimizu’s craft, but that of reality: What became of the war orphans Shimizu raised?