Death for a Unicorn

Set one evening in present-day Moscow, 16-year-old Pyotr is baited by an ultra-nationalist group known for their violent abductions and attacks bolstered by Russia's LGBT Propaganda Law, but Pyotr has a dangerous secret.

An eclectic foursome of aspiring teenage witches get more than they bargained for as they lean into their newfound powers.

Murti (Sally Marcelina), the daughter of bankrupt farmer Murdali (Wenda Wijaya), is offered up as a bride to relieve a family debt owed to loan shark Juragan Hamid (Mawardi Harland). Before the forced marriage occurs, Murti and her boyfriend Yusman (Johan Saimima) run off and marry one another is a mystic ceremony witnessed by the spirit of the dwarf shaman Mbah Jagaraga (El Koesno). After becoming married to the man she hates, Murti learns that Juragan Hamid is a fugitive convict so he kills her to secure his secret. Murti’s death disturbs another spirit and the two of them return as ghosts to haunt the village.

In a playful collision of cultures, a hapless Irishman and his Parisian girlfriend get more than they bargained for when they encounter a particularly mischievous stranger in the spectacular Australian wilderness.

Unknowingly saving the mountain god she devoutly worships, novice healer, An Qi, tries to nurse the god back to full health.

Just when So-Ri is about to break down, a stranger enters her life. He seems to know all her secret fears, doubts and hopes. Unable to stop herself, So-Ri follows him to a place from which there might be no coming back…

A professional cellist has an encounter with a stranger on the subway which has unexpected and far-reaching ramifications on his life.

The survivors of the first Waxwork must use a portal through time to defeat the evil that has followed them and turned their lives upside down.

Phyllis is a moving and atmospheric portrait of a ‘psychic’ vampire, a woman obsessed with synthetic Nollywood dramas, that lives alone in Lagos, Nigeria. The central idea of this short experimental film is the practise and significance of wig-wearing in Nollywood film; a practise the director has invested with deeper psychological as well as science-fiction layers. Underpinning this central idea however is a critique of the unforgiving treatment of single women in Nollywood and Nigeria. The film is an example of what the director, Zina Saro-Wiwa, has termed “alt-Nollywood”, a genre that plays with and reworks certain narrative, stylistic and visual conventions of Nollywood. Phyllis explores the gothic possibilities of the Nollywood aesthetic creating a new kind of low-budget atmospheric film that is very much of Nollywood and yet subverts the genre. Using Nollywood to subvert Nollywood.

In a country house at the turn of a century live a family of eccentrics. Anastasia, the beautiful mistress of the manor, enjoys the amorous attentions of her stepson Blarney so openly that her husband Diapanasius takes out his shotgun and shoots her. The rest of the family accepts her end as a matter-of-fact, and soon - her return as a voyeuristic ghost who interferes with their love lifes. Anastasia has a posthumous son Tadeusz, "born" by clambering out of the tree trunk. Anastasia seduces him too, and drives another men so crazy that they kill her another couple of times. Finally, Tadeusz, the arch-rebel, leads a mob on a raid of the old manor.

Young man finds puzzle in his latest apartment. The new residence will not be your home sweet home.