Tres dies amb la família

Şehnaz, a young female psychiatrist from Istanbul, starts mandatory duty in a provincial town. Back in the city, she maintains a marriage that looks flawless on the outside. Elmas, a young woman on the verge of breakdown, opens a new path in her.

The film captures the daily duality of three young Palestinian women in Tel Aviv, caught between hometown tradition and big city abandon, and the price they must pay for a lifestyle that seems obvious to many: the freedom to work, party, have sex, and choose.

Recently returned to her home in the Sultanate of Zinder after completing her degree abroad, a young woman suffering from the pain of a lost love finds renewal while awaiting the mystical promise of a new moon.

Nina, Ailén and Fernando are an actress, a producer and a director who want to shoot and independent feature film in Argentina.

A young couple, Kaia and Andrew, are renovating Kaia's secluded family estate. Their lives are violently disrupted upon the unexpected arrival of Kaia's sister, Christine, and her fiancé, Ira.

Estranged from her family, Franny returns home when an accident leaves her brother comatose. Retracing his life as an aspiring musician, she tracks down his favorite musician, James Forester. Against the backdrop of Brooklyn’s music scene, Franny and James develop an unexpected relationship and face the realities of their lives.

'The subject of this film is the conversation between a man and a woman. A couple, maybe lovers, maybe married, it doesn't matter. (...) During this conversation, we do not see but the city of Rome. I wanted to transmit that what Rome provokes in me, the feeling of an intrinsic matter, indissoluble, in difference with Paris, made of small parks and open spaces, crossed by the sky and the wind. Hand in hand with the film, the difficulty of the two lovers assumes a clearer, more explicit form. But as much as, in my opinion, it is impossible to describe and film Rome, the difficulty in the love of a couple can never be totally understood.' - Marguerite Duras, Venice film festival catalogue, 1982.

Sixteen-year-old Billie’s reluctant path to independence is accelerated when her mother reveals plans for gender transition, and their time together becomes limited to Tuesdays. This emotionally charged story of desire, responsibility, and transformation was filmed over the course of a year—once a week, every week, only on Tuesdays.

Joe Lieberman is attracted to Shaleen. They begin a professional relationship, which continues even after Joe develops a romantic interest in a woman named Kate, who is married.

On the east coast of New Zealand, the Whangara people believe their presence there dates back a thousand years or more to a single ancestor, Paikea, who escaped death when his canoe capsized by riding to shore on the back of a whale. From then on, Whangara chiefs, always the first-born, always male, have been considered Paikea's direct descendants. Pai, an 11-year-old girl in a patriarchal New Zealand tribe, believes she is destined to be the new chief. But her grandfather Koro is bound by tradition to pick a male leader. Pai loves Koro more than anyone in the world, but she must fight him and a thousand years of tradition to fulfill her destiny.

When a Mongolian nomadic family's newest camel colt is rejected by its mother, a musician is needed for a ritual to change her mind.