In 2003, Chandrashekhar's world was turned upside down. He had pledged his property to the Sullia cooperative bank for a loan, but when he couldn't repay, the bank took it away, despite RBI norms saying otherwise. What followed is over two decades of struggle. He has taken the bank to court, but the case drags on.
Time ascends as history sinks. Thirty-two upward-tilting shots, across British Columbia’s Lower Mainland, excavate histories of Indigenous presence, colonial violence, and ecological transformation. As image fades from colour to monochrome and sound descends against the camera’s rise, chronology collapses. Archival images, composite landscapes, and a descending sonic register unsettle linear narration, reframing the present as accumulated residue, and the land emerges as an unresolved stratigraphic archive, where history persists vertically beneath contemporary space.
American composer Gabriela Lena Frank’s first opera, a magical-realist portrait of Mexico’s painterly power couple Frida Kahlo and Diego Rivera, with libretto by Pulitzer Prize–winning playwright Nilo Cruz. Fashioned as a reversal of the Orpheus and Euridice myth, the story depicts Frida, sung by leading mezzo-soprano Isabel Leonard, leaving the underworld on the Day of the Dead and reuniting with Diego, portrayed by baritone Carlos Álvarez. The famously feuding pair briefly relive their tumultuous love, embracing both the passion and the pain before bidding the land of the living a final farewell. Music Director Yannick Nézet-Séguin conducts the Met-premiere staging of Frank’s opera, a “confident, richly imagined score” (The New Yorker) that “bursts with color and fresh individuality” (Los Angeles Times).
A collision of bizarre characters, senseless situations and countless styles (like eight) that is bound to leave you speechless. Join our lucky audience, giving praises in the likes of "I don't get it.", "This should win the grand prize!" and "Huh?".
Bus driver Chuang spends the entire day at work with his lively young daughter, Evonne. Their interactions reveal the deep bond they share, while also hinting at an issue that Chuang is reluctant to confront.
The Gilded Mirror follows Charles Randolph, a once-renowned performer haunted by his wife’s death. When a young woman comes to audition for him, their encounter unravels into a world of illusion and obsession.
Rudi and Silvia, with their children Martín, Federico and Silvina, escape from the city to spend a few days in their country house. Rudi gets into arguments with the neighborhood landlord. Children wander around the area. Martín likes fire. Fede is scared. One day, the abandoned house in the background suffers an unexpected fire and a dead person appears: a homeless man suffocated by the smoke. The children did something. Something horrible. Now, we will have to see a way to return to the desired calm.
This film-poem is composed of visual and sonic fragments in which landscapes, everyday gestures and distorted songs weave an inventory of loss. Between silence and vertigo, the past resurfaces. Pain, resistance and beauty persist within the absences carved out by colonialism.
Idan, a depressed high school student stuck in a repetitive routine, is drawn by a childhood friend into a series of forbidden acts that offer him excitement and joy. To stay true to himself, he must confront his friend and risk losing both the friendship and the only thing that has made him feel truly alive.
“Ceroxylon quindiuense,” the Quindío wax palm, is Colombia’s national tree. It embodies a perfect paradox for a country steeped in machismo, misogyny, and transphobia, as it is a plant with the ability to change its sex. It is a trans palm and the inspiration for Magdalena Morales, an Afro-Colombian trans leader, to join the Trans Community Network and plant a seed of rebellious light on the horizon of traditional Colombian Caribbean music. Her song of redemption rises above desolation and celebrates social struggles, from Palestine, the Congo, and Sudan to the streets of Bogotá’s Santa Fe neighborhood, where her trans sisters stand firm.
Following their high school graduation, Olafs and Ronis spend an aimless day in a small Latvian seaside town. Attempting to alienate their hangovers, Ronis steals 15 euros from his father to buy marijuana setting of chain of events that, after a confrontation with the police and driving under the influence ends in a tragic car crash, where one of the protagonists perishes making this accidents as a harsh boundary between childhood irresponsibility and adulthood.