Three spirits go hunting for treasure but get more then they bargain for once they find it...(uh oh)

Two people spiral into their own activated attachment styles.

Do you wish to know what will happen in the future?
Folklore often tells us a banal and mundane life that is a timeless matter with a strange event with a trickster. If people remember it, it’s because of its strangeness. Otherwise, it can be only a passing event that we never pay attention to, and forget it among busy daily events. A Japanese monk walks with “Shakujou” , which is a long stick with brass rings on top, while he practices on a mountain. Every step he walks on his path, the sound of metal rings make a mark on his life. Marks are a flow of time to the death, moment by moment, no matter if something happens, or not.
This is a story while a candle is lit.
“Yuke” is a foretelling that was fashioned in the 7th century in Japan. You stand at a corner of a crossroad and listen to the words of passersby at a dusk dark enough time you couldn’t tell who those passersby are. You bring those words to a foreteller. She will tell you what you want to know. Voices come to you are no one’s voice but comes from other worlds, demons, spirits and gods, through passersby. Isn't this a lot like what you would say on your psychoanalyst's bed?
The shrine maiden who wishes to listen to voices stands at a corner of a crossroad this evening.

Bam-pou-ki-itsu is a 禅語(zengo), Zen terms, which meaning is :
The one is whole as it is.
The individual exists in the whole and the whole contained in the individual.
There are many complicated things in the world or in our minds.
Joy, difficulties, sadness etc.
Every thing looks different but they are only different sides of one thing.
Once we realize this, we can go ahead with steadfast mind.
Sachiyo tries to give people hope with this message by her unique approach as a SHOKA, Japanese calligrapher.

A curmudgeonly old man finds fleeting hope after winning a small lottery ticket and connecting with a kind clerk, only to face devastating regret when his lifelong numbers win without him—until an unexpected call changes his fate.

As Ambience Brooks sets out to cast her debut feature on cognitive dissonance, she confronts clashing ideologies and the harsh realities of filmmaking.

Felix (pronouns: they/them/he/him) is a 26 year afab enby identifying person living in Münster and passes by as a man. Their facial and body hair is a passport to their identity. One day while playing table tennis in the neighborhood, they are verbally attacked by a woman for being present in a FLINTA* only demonstration on women’s day. This opens up the conundrum of how their body is read by different people and how it can bring access or have access denied in certain spaces. Keeping calm, they chose to explore their own body, pondering on the relationship to their body hair and bodily expressions.
While working with a photographer friend, they pose for the camera with many intentions. Here they observe how certain body gestures become a code to a certain kind of body reading, gender identity and expression. With this observation, they are now finding nuanced ways to embody it and counter embody it . They creates a safe space in a bar that they co founded and where they go to arrives at the self with certain breathing and body rituals which then evolves into an ecstatic dance making the audience wonder what kind of performativity they do witn with people and what are safe spaces where one can just be self. By chronicling the various forces that influence how their bodies are read and counter-read in the society they live in, the film questions how many facets of gender identifications and how one finds solace in being a liminal body.

Mae West is a life preserver, an inflatable jacket, a pair of mountains, a specific type of parachute malfunction and the name of buxom film star. They are all “Mae Wests.” The name evokes an ensemble of sexual, quasi-sexual, and sexist pairings, as West’s body maps topography, risk, and rescue.
Through sampling, glitch editing, and pitch play, this film combines early newsreels and Harvard University science footage of actual, imminent hazards: a collapsed bridge, a train derailment, downed communication lines, intense storms, past disasters that foreshadow present current environmental and infrastructural crises. In the 1920s, these episodes were front page news; in “Malfunctions,” they are reassembled in a non-narrative, associative manner, moving from dark to light, from slow to fast, from escalation to dissolution. This montage of contrasts, offers scenes of natural and human-made disasters found in port cities, vignettes of fun and frolic, and an early twentieth-century airship seemingly still, held aloft in the sky. Connecting this cinematic collage is an extended remix of Mae West’s intensely sexualised version of a 1913 song by black Canadian composer Shelton Brooks, from the film She Done Him Wrong (1933). Radically slowed down, West’s mournful, sensual voice transforms loss and longing into a haunting stillness, played out over oddities in the news.

In this short work created using a webcam, a python sketch, and raspberry pi running on solar power, still images of the sky are captured and sequenced every minute for the life of a single battery charge cycle. The resulting film is accompanied by a software generated sine wave vibrating at 126.2hz in harmony with the sun. Finally, a throwaway joke becomes the voiceover toward more broad questions about how we become locked into ideas about unfathomably big things. The film presumes that the current energy crisis, as defined by streaming media, artificial intelligence, and the various associated systems is also a condition of the colonizer logic adopted long before any of these technologies were conceived.

Liquid takes the shape of its container. Thirty-something barista, Sergio, takes us through a colorless lunch break as he navigates his compulsion to be everything to everybody. Career paralysis, workplace friendships, and training a new family dog occupy Sergio's innermost thoughts in this charcoal-animated short -- a scape of the mundanity and routines within a service job, and the brief return to self during the short times between.

In the early days of Russia’s full-scale invasion, film director Ganna flees with her children and elderly mother from Russian gunfire near Kyiv. Amidst the chaos, they find shelter in Poland with Kaja, an artist, singer, and mother of five, who welcomes them as a family. Despite the language barrier, the Ukrainian and Polish mothers form a deep bond that helps Ganna confront trauma, loss, and the terrifying new reality of war.
Ganna’s family is torn between those who left and those who stayed. Her father, Petro, refuses to abandon his land near Bucha, surviving the Russian occupation while stubbornly tending to his garden. Her young daughter Malva quickly adapts to life in Poland, while her teenage son Orest struggles with loneliness. Meanwhile, Malva’s father—a renowned folk musician—promises to reunite with them at a music festival in Poland, though wartime restrictions rarely allow Ukrainian men to leave the country. What will it take for this family, fractured by war, to come together again?
Told through the lens of a refugee, the film captures the experiences of Ukrainian women and children in Poland during the early months of the Russo-Ukrainian war.

Amelia, a young girl, is raised on a secluded rural property since infancy by two trolls, under the guise that she is in fact a troll herself. Amelia's world unravels as she learns the truth about her past and identity.

Vanishing: A Love Story is a documentary about award-winning novelist Cai Emmons and her loving, open-hearted journey towards death. In 2021, at the age of 70, Cai was diagnosed with ALS. Taking place in 2022, during the last six-months Cai’s life, the film is, first and foremost, a story about the agency of expression —having a voice to create a legacy in the world.
"Sandra Luckow’s 'Vanishing' offers an almost shockingly close-up view of a life well lived and arguably well ended. Focused raptly on the late author Cai Emmons, the film is documented from so deep within her home and intimate circle that at times it also seems to have been shot from inside her head. Emmons is the intellectual driver of Vanishing—but it’s Luckow’s principled humility before her subject, and before the inescapable realities of illness and death, that enable this film to begin in voicelessness and dissolution and end in eloquent affirmation.

After a son makes a mistake in his relationship, a group of his father figures in Heaven compete over who should send him a sign to help fix it.

Love Conquers All. Maybe.

Using her hand as an example, Christiane Karajeva demonstrates the core feeling of piano playing, her approach to problems and discovering blockades over 14 scenes. All in order to move more freely and relaxed on the instrument. The film should inspire one to take a close look!
However, the physical and psychological aspects do not only affect instrumentalists, they can be applied to everyone and to everyday life situations.

Rob's dedication to liberation and justice makes an impression on Charlie and some of her activist friends, though not all is what it seems in "True Horizon," an expressionistic meditation on how people decide what is true.

When a brilliant but introverted engineer must marry before turning thirty or lose his family’s bunker-building business, he and his carefree brother embark on a chaotic international search as passport bros for marriage partners—only to discover that success may lie closer to home.

Kintsugi - gold joint - is a Japanese method of repairing broken porcelain or ceramics with lacquer sprinkled with gold powder. Spiritually, Kintsugi chooses to show the breakage and repair of the object as part of its history, rather than hiding it. It symbolizes the resilience and beauty of life's scars, the transformation of fault lines into lines of strength. Shot in the primeval forest of Costa Rica, this is a film about untouched nature, untouched by pollution and the wounds inflicted by man.

Life Gave Me a Twist is a powerful graphic documentary that traces one woman’s journey from childhood innocence to hard-won resilience. Through memory, illustrated storytelling, and personal reflection, the film explores love, betrayal, abuse, loss, and survival, revealing how generational trauma, intimate relationships, and unexpected tragedy shape identity. As the story unfolds, the filmmaker confronts painful truths, reclaims her voice, and transforms lived experience into purpose—offering an unflinching yet hopeful portrait of healing, strength, and self-definition in the face of life’s twists.

After being embedded with the U.S. military in Afghanistan, which ends in tragedy, a journalist heads to rural Maine to fully recover and finds herself on the frontlines of another battle, between a family of wolves and the ruthless land developer who wants them hunted down.
After a comrade dies in a horrific incident on the frontlines in Afghanistan, a war correspondent, forced to take time off, travels to Maine, only to stumble upon a exotic-animal hunting resort that threatens the local wolf population. When two wolf pups come under her care, she risks everything to stop the corruption and return the wolves to their pack.

A young, half human, half fairy princess, given away at birth, must choose to become fairy or human by her 25th birthday. Drawn by the greatest power of all, the power of love, she chooses to become human.

Two unsuspecting individuals discover they are part of a covert AI
experiment that programs them to commit murder.