Karen Doesn't Dream

In the 1980s, and after the death of his mother, Sam is struggling with family, friends, school, and the most evil being he can imagine - The Bloody Man, who is unknowingly summoned and will stop at nothing to destroy everything Sam holds dear.

An emotional journey back to the 50s and 60s: Through photos and film footage from her childhood, the 48-year-old filmmaker Marie remembers growing up in bourgeois post-war Germany. Marie is once again confronted with the early death of her mother and the excessive demands of her conservative father. He has no understanding for her and deports her to a Catholic girls' boarding school. A youth characterized by constant rebellion against the mustiness of the post-war years and against a society that expects one thing above all from girls: to smile nicely into the camera and under no circumstances direct the film themselves!

Inspired by true events, a young Frederick Douglass is secretly taught to read and write by his master's wife. Using only the air as their blackboard, this random act of kindness provided an education that paved the way from slavery to freedom.

The story of the film revolves around four college friends went their own direction in life, but remained inseparable from each other.

EUPHORYAA is the beautiful collision of three strangers on an island in the Aegean Sea. It is a story of love, life, and the magic of the Mediterranean sun, which illuminates everything in the same translucent way, while making it appear eternally and painfully elusive at the same time. This strange effect is hard to capture, but filmmaker and photographer Christian C. Klinger, known for his essay films about famous and emerging photographers, is well prepared for his first full-length fiction film.

The action takes place on the southern outskirts of the country in the mountains of Kyrgyzstan. The film tells about the struggle of the Bolsheviks and Kyrgyz peasants against the rich Bais and Basmachi for a better, just life.

A pickpocket falls in with a group of prostitutes who have one strict rule: none of them may ever sleep with a man without taking his money — falling in love is forbidden.

1734. In the north of the Urals, in the impenetrable forests of Orthodox Russia, one of its small nationalities lives — the Voguls, who have preserved the rituals and customs of their ancestors. Like any nation, the Voguls have their own history, traditions and gods, the main one of which is the golden goddess, the patroness of the Voguls. Once upon a time, many centuries ago, she stood on the top of a mountain, and anyone could come and ask for her help.

“Farah,” a bread seller, walks the streets of a Middle Eastern town, while an American military vehicle, surrounded by soldiers, slowly passes by. A moment’s silence. Then, a devastating explosion. Civilians are bloodied, wounded. The horrors of war. “Farah” looks around aghast and wailing. But nothing here is quite what it seems. In fact, “Farah” is a character played by an aspiring actress called Laila. And this isn’t Iraq, but a replica village erected on the Fort Irwin army base in California, used to train American troops before being sent abroad. Laila believes her acting talents are being wasted away in this arid simulation, where female role-players are limited to mute, background roles. She takes things much more seriously. Laila plots her way out.