The narrator tries to communicate with his unborn son and takes off on a journey were you see faces of apparitions of those outcasts, who find their solace of living only in the shadows; outside, but beside, the political and economical system; system that kills the individual and creates masses instead. These outcasts are bums, cripples, madmen, lunatics. They, in the eyes of the narrator, are the only ones, that know what it means to be human. They are not corrupt by the masses or the system; they are so overwhelmed by their madness or dreams, that they have lost the relationship with the world. They live in a world of their own, thus enabling freedom from the system. What they do, is wait. They quietly wait for the day the kingdom of God will descend upon earth.

An underground classic for decades, Jane Arden’s film explores a woman’s inner turmoil after being classified a schizophrenic. The film is especially noted for its disturbing imagery, music, and increasingly claustrophobic narrative. With roots in the avant-garde British theatre of the time, the cinematic interpretation is quietly captivating and deeply unnerving. The Other Side of The Underneath was deemed lost for decades, rarely screened, till the BFI commissioned its rerelease in 2008.

The Suram Fortress is in a constant state of construction – that's because it's always crumbling just as they are about to complete it. Since the fortress will serve to defend the kingdom from foreign intruders, this is a serious problem. To solve this perplexing mystery, a young man visits a fortune teller (Veriko Andzhaparidze) who offers a startling proclamation: For the fortress to stand, someone must be buried inside it. Soon enough, the young man realizes that this person is him.

In order to regain custody of her daughter, whom she left in the care of her fortune-telling aunt, Mona must tell a social worker her story. The tale she spins – and the movie we watch – is a wild, surreal adventure in which people are able to project and enter each other's dreams, and our heroine is sold into slavery and lands in a swank, debauched Liverpool brothel where the patrons enact their literary/sexual fantasies with Lolita, St. Joan, and Desdemona. Rendered with dazzling tracking shots, striking CGI effects and a pulsing soundtrack, Hungarian director Szabolcs Hajdu's risk-taking fantasia has style to spare. But under the seductive surface lurks the very human story of a woman who uses fantasy to cushion the pain of life.

A drug has been discovered, Liberxina 90, which will erase "establishment" conditioning from the human mind. It has fallen into the hands of some diversely anarchistic revolutionaries who spend most of the film discussing how and whether to use it; should they wait for the forces of "history" to undermine society or speed things up using the drug? They are finally forced into action by the police who are, somewhat ineptly, hunting them down.

Top star Ririko undergoes multiple cosmetic surgies to her entire body. She's looked upon as an icon for beauty. As the toll of her multiple surgies begins to take its toll, Ririko makes the lives of those around her miserable as she tries to deal with career and personal problems.

The intertwined lives of 2 women in 1970's France, set against the progress of the women's movement in which Agnes Varda was involved. Pomme and Suzanne meet when Pomme helps Suzanne obtain an abortion after a third pregnancy which she cannot afford. They lose contact but meet again ten years later. Pomme has become an unconventional singer, Suzanne a serious community worker - despite the contrast they remain friends and share in the various dramas of each others' lives, in the process affirming their different female identities.

In a montage alternating with moments of Nigel Rogers' interpretation of the most beautiful passages from "Orpheus," the opera by Striggio and Monteverdi, La Nuit Claire is an evocation of the celebrated myth, within which images of the love between its two modern protagonists, Anne and Julien, are inscribed. - BAM/PFA

The Hart of London combines archival newsreels with original footage while adding an undercurrent of simmering violence to the mix. Superimposing found images of a deer being trapped and killed in downtown London with antiquated images of the city in industrial transition (trolleys and automobiles share the street with horse-drawn carriages), Chambers re-creates an urban history that is original, expansive, and severe. As a parallel to the thematic motif of the persecuted deer, Chambers introduces chilling colour footage of lambs being slaughtered (photographed on a return visit to Spain) at the film’s midway point. Chambers writes, “In the second part of the film [these slaughterhouse] images become symbolic of the pursuit and death of the deer. This theme is repeated again and again in the real images of everyday life.”….

The story of Elisabeth and Paul who get married and drift apart. They have a very different take on life, hers rather bohemian and his disillusioned. Repeatedly the film moves away from the pure narrative toward a discursive and parable style of storytelling.

In the bourgeois circles of Europe after the Great War, can anything save the modern man? Harry Haller, a solitary intellectual, has all his life feared his dual nature of being human and being a beast. He's decided to die on his 50th birthday, which is soon. He's rescued from his solipsism by the mysterious Hermine, who takes him dancing, introduces him to jazz and to the beautiful and whimsical Maria, and guides him into the hallucinations of the Magic Theater, which seem to take him into Hell. Can humor, sin, and derision lead to salvation?

A nurse, a paramedic, a gymnast and her coach offer a service for hire wherein they stand in for dead people by appointment, hired by relatives, friends or colleagues of the deceased, to assist with the grieving process.

A most undefinable and hallucinatory work by Němec, in which he dives into the visionary world of the Czech painter and leading light of both Czech and French surrealism Marie Čermínová (1902-1980). An avant-garde personality, she also challenged the traditional gender roles, taking the enigmatic gender-free name Toyen and becoming one of the few female faces of the surrealist movement.