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HIDE is a contained psychological thriller about one resilient wife’s (Nadine Malouf) fight to escape her husband’s (Ben Samuels) escalating gaslighting and abuse during lockdown. The female-centric genre film is lensed in the wife’s evolving perspective as she slowly comes to see what is happening to her and finds the support to fight back. Visually mesmerizing and emotionally arresting, the film’s pace and pathos pull us into a story that will feel uncomfortably familiar to too many of us.

In 1916, a group of prisoners plot their escape from the notorious fortress located in French Guiana.

A man engulfed in the suffocating grip of loss finds his life fragmented. Struggling to navigate through his emotional fog, his mother suggests a retreat to her cabin – but an ancient entity that thrives on sorrow has taken root. The New England winter punctuates this love letter to creeping horror and slow cinema.

Hillary and Bonnie meet one morning by the side of the road. They become fast friends, share their secrets, and, on a rising wave of frenzy, later that afternoon, murder an old woman. They did it, they say later, for fun.

The world strongest man learns how to embrace his mental health challenges by confronting his inner demons and dealing with his biggest failure to date which ultimately changes his life.

LOOKING LIKE MY MOTHER is a film about family relationships and personal destiny, about realizing one's own potential and one's limitations. It traces the individual experience, showing the emptiness one can feel as well as the discovery of a sense of meaning in life. It is a very personal and courageous film that doesn’t search for scientific explanations but instead uses documentary and fictional material to weave an intimate biography. This combination of perception and memory suggests a deep reconciliation and allows tender feelings of a mother’s love to emerge.

Dinner Time is noted as the first sound cartoon short made after Warner Bros.' success with The Jazz Singer and produced even before Walt Disney's first sound cartoon, Steamboat Willie (though released after).

Cumpridas as obrigações académicas, Hugo (Hugo Leitão) passa os dias em casa descansando a cabeça de intermináveis leituras de autores pouco conhecidos. Dorme muito e a desoras. A sua única companhia doméstica é Luísa (Márcia Breia), a empregada, que alinha com ele em cúmplices jogos do gato e do rato. Para afugentar o sono da razão Hugo exercita a veia lírica escrevendo, com o amigo Manuel (Manuel Mesquita), canções sobre o bairro onde ambos habitam. O plácido diletantismo do protagonista é abalado por Catarina (Lia Ferreira), uma jovem e bonita tradutora que dá os primeiros passos na vida profissional em regime freelancer. Hugo está pelo beiço, fraqueja. Lá em cima, o peneireiro peneira.

Chilly Willy goes deep sea fishing coming up with an old shoe which he proceeds to cook.

After the woman who raised him claims he's not her son, Richard searches for clues about his identity. Urged on by his mentor, Capt. Randolph Courtney, Richard focuses on Julia Trent Anders, a middle-aged actress who just might be his real mother. But soon, Richard begins to fall for Julia's stepdaughter. Amidst the upheaval, Richard schemes to return Julia to the stage -- but he's in for another big surprise.

Four twenty-something women, crammed into a small Manhattan apartment, have dead end jobs (or no job) and overdue rent. They discover cash and self esteem when they set up an illegal bookie joint in their kitchen. Suddenly they can pay their bills; they imagine joining the middle class; they even make corporate donations to charity. The film also explores their relationships with men, most of whom are unfit for anything lasting, and with their mothers, who appear in surreal, imagined conversations with their daughters.

Presumably inspired by Pete Walker's 4 Dimensions of Greta this is another 1970s sex comedy filmed in 3D. Walter Boos however went all the way - we do not have just the odd 3D boob scene, the whole film is made in 3D. The viewer is constantly reminded of that, because the cinematography is truly bizarre with plenty of scenes of rather peculiar camera angles that strongly emphasize the 3D effects, e.g. a girl on a swing moving towards (and above) the camera, twigs hitting a car window, and many many more. The exaggeration of 3D makes these scenes quite funny, as the effects are completely over the top.

When Cobra develops a secret bio-weapon on their hidden island base, GI Joe is called in to stop them. A daring invasion is executed with Snake-Eyes squaring off against Storm Shadow, his old nemesis. But the Joes learn that Cobra is a slippery snake when they fail to capture the bio weapon.