Raghav, a supermarket employee, and Meera, a journalist fall in love, marry and await their first child's arrival. Their lives take an unexpected turn when they're involved in an accident, leaving Raghav hospitalized in a intensive care.
Umbro, the threshold of a home, is the liminal space that speaks to the lives of women, including the filmmaker's mother and her friends who live in the small town of Dhrangadhra in Gujarat, India. The film explores joyful friendships among women, often dismissed and unsung - carrying in them moments of shared stories, solidarities, conflicts and, most of all, routine acts of resistance.
Four buddies who are proudly and voluntarily jobless embark on an exhilarating voyage. They will wait for the wind to come and blow the fly off if it is sitting on their mouth. These four are having a good life together, but Kana has to make a decision since he falls in love with Radhika right away and wants to marry her. things they are unable to do.
Three carpenters trapped in a haunted factory on Kalichaudash must burn a possessed girl's anklets, only to reveal the entire spooky tale was filmed in a single take with hilarious behind-the-scenes chaos.
As the global population increases and the desire for urban living intensifies, cities are becoming overcrowded. This leads to the exploitation of land for personal and financial gain. This demand has tragically resulted in large-scale deforestation. Apartment buildings, housing societies promising luxurious lifestyles, shopping malls offering endless retail therapy, and spacious parking lots are ruthlessly replacing wildlife habitats and destroying nature, regardless of what stands in their way.
The film misses the beginning and an end, and hence becomes an experimental noir in the nights of Jaipur, where two people connect over cinema and start a friendly gambling session with the intention of making some petty money in order to pay off their gambling debts.
“Make it look real,” the clients of a photo studio in Pakistan urge the photographer. They want a photo of themselves with girls, and preferably holding a gun or sitting on a motorcycle, even though they have none of these things. So their photos are pasted onto stock photos. In a sense, these studios are selling a lie, but at the same time the photos bring to light the dreams and ambitions of their clients.
Maira, a 14-year-old girl, finds herself grappling with a fading bond between her and a once-close neighbor, Neha. What was once a cherished friendship has gradually eroded, leaving Maira feeling isolated and frustrated. Determined to rekindle her connection, Maira seeks assistance from a trusted school teacher.
It is 2030. Due to the enormous water scarcity, water parks in Spain and Portugal have been dried up. In her swimsuit, director Leonor Martín wanders through the water parks of her youth. In End of Season she muses about the beautiful memories she has from a time when water still flowed freely. What are we giving up in the name of progress?
It is 2030. Due to the enormous water scarcity, water parks in Spain and Portugal have been dried up. In her swimsuit, director Leonor Martín wanders through the water parks of her youth. In End of Season she muses about the beautiful memories she has from a time when water still flowed freely. What are we giving up in the name of progress?
This story follows "The Universal Ecologist," an activist committed to the long struggle for the permanent closure of Mexico's only nuclear plant, Laguna Verde. It traces the evolution of resistance against the nuclear industry, highlighting the efforts of those dedicated to protecting the environment and future generations.
This story follows "The Universal Ecologist," an activist committed to the long struggle for the permanent closure of Mexico's only nuclear plant, Laguna Verde. It traces the evolution of resistance against the nuclear industry, highlighting the efforts of those dedicated to protecting the environment and future generations.
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