Fritz Brown is an ex-LAPD, recovering alcoholic who now splits his time repossessing cars for a used car lot and staffing his one-man private detective agency. When a filthy caddie named Freddy "Fat Dog" Baker wanders into Fritz's office one day, flashing a wad of cash, Fritz is hired to follow Fat Dog's kid sister Jane, who is holed up with a Beverly Hills sugar daddy named Sol Kupferman. Kupferman is a 70 year-old bag man for the mob, and Fat Dog claims that "Solly K" is up to something evil that may harm Jane. The trail leads Fritz to an encounter with his dark past in the person of Haywood Cathcart, current head of LAPD internal affairs and the person who kicked Fritz off the police force.
Six vignettes pit an assortment of characters against each other in everyday situations.
After the death of their abusive father, two estranged twin brothers must reunite and sell off his property.
A hitman is tasked to take out ex-mobsters when he suddenly hears a voice that questions his morality.
Insulted by Rosario, a rich businessman, Jai Kishen a Matchmaker teaches him a lesson by getting his daughter married to Raju, a Coolie, who poses to be a millionaire. They sense something fishy and Raju's deceptions are discovered. In an attempt to cover it up, he cooks up a story of having a filthy rich twin. One lie leads to another and things start to go awry culminating in a comedy of errors.
As a young couple stops and rests in a small village inn, the man is abducted by Death and is sequestered behind a huge doorless, windowless wall. The woman finds a mystic entrance and is met by Death, who tells her three separate stories set in exotic locales, all involving circumstances similar to hers.
Drowning in debt, child support and bills all while white knuckling it through sobriety, Francis is coming undone. When his roommate, Shelly, goes missing, Francis is thrown headlong into her private world; a slip stream of money, violence and terrifying allegiances.
A short film shot in the style of a first person shooter.
Two girls with the same name but very different personalities share an apartment in this sequel to Nana. The rising fame of Nana Osaki's band, the Black Stones, is beginning to take a toll on the best friends' relationship. Meanwhile, Nana Komatsu struggles to make sense of her love triangle with Black Stones' guitarist Nobu and rival group Trapnest's bassist Takumi.
A boy walks through an abandoned building and films the interior. Suddenly his camera disappears.
Re-re-repeat A rhythmic dialogue between sound and image: exploring space, corporeal phenomenology and chance outcomes, which alter perceptions of time and memory.
A young man's life is turned upside down when his violent dreams begin to blend with reality.
A documentary detailing an indiscriminate terrorist attack that left 71 dead in Kenya.
In very bad weather and a stormy sea, a small boat manned by two men is trying to leave the harbor of La Ciotat, while several people are watching them from the nearby pier.
After inheriting the family mortuary, a pyrophobic mortician accidentally exposes hundreds of un-cremated bodies to toxic medical waste. As the corpses re-animate, the mortician's inheritance-seeking younger brother unexpectantly shows up, stumbling upon a full zombie outbreak!
Small, yellow-bellied forest spirits make a discovery that threatens the balance of their world.
An older beetle of a rare variety advises a young passerby against crossing a stream, where he is likely to get trapped by bug collector Donald, as he himself almost was when he was young.
‘Finding Fanon’ is the first part in a series of works by artists Larry Achiampong and David Blandy; inspired by the lost plays of Frantz Fanon, (1925-1961) a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation. In the film, the two artists negotiate Fanon’s ideas, examining the politics of race, racism and the post-colonial, and how these societal issues affect their relationship. Their conflict is played out through a script that melds found texts and personal testimony, transposing their drama to a junkyard houseboat at an unspecified time in the future. Navigating the past, present and future, Achiampong and Blandy question the promise of globalisation, recognising its impact on their own heritage.
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