Return is a methodical construction of the approach of an individual towards an unseen goal, which assumes metaphorical significance. Viola moves toward the camera/viewer, pausing every few steps to ring a bell, at which point he is momentarily thrust back to his starting place, and then advanced again. Finally reaching his destination, he is taken through all of the previous stages in a single instant and returned to the source of his journey.

While settling into married life with Akiko, Ryu is brought into a case involving a woman named Katsuragi Aoi, a member of a pickpocketing ring with most of her teammates murdered from unknown masked vigilantes that Ryu fought as Accel. As the details of the case begin to unravel, Ryu is framed and Akiko believes that he may not be faithful to her. As the clock ticks down, Ryu must solve the case, clear his name, and save his marriage before everything comes to an explosive end!

8mm work directed by Norihiko Morinaga.

A young man returns home for the weekend to discover the difficulty of juggling friends, parents, magic mushrooms and several thousand chickens.

Schools out, and Fred Figglehorn's dream of water slides, horseback riding and monkey butlers during the summer turns into a nightmare of gruel and poisonous berries when his mom signs him up to an unsanitary camp.

This documentary looks at the Danish resistance movement's execution of 400 informers during the Nazi occupation and the ensuing cover-up.

RETURN tells the story of a retired Green Beret who embarks on a healing journey from Montana to Vietnam. There he retraces his steps, shares his wartime experiences with his son, treats his Post-Traumatic Stress Disorder, and seeks out the mountain tribespeople he once lived with and fought alongside as a Special Forces officer.

Return to Horror Hotel is an anthology feature with 4 segments. One is about giant a bedbugs, one is about a magical charm that turns girls beautiful, one is about a WWII sailor who hasn't aged and one is about a terrorizing severed hand.

Owen, a young man is dissatisfied with his life. He heads into the forest to escape and learns a lot during his time there.

Gerardo returns home with a pack of dogs barking in the background on a dark night. Inside his house he will find an altar with flowers and orange lights. Now it will be the silence that will guide his steps to find out what is on that altar.

As John T. Wrecker continues his task of protecting a group of refugees from a virus, the threat of something new and even more dangerous grows ever closer in the form of monstrous mutants.

Eyüp decides to cross mount Ararat looking for his aunt in Yerevan after following a madman's words. His aunt has also been expecting someone to come from behind this mount for many years. Eyüp cannot be sure about the woman he finds behind the blue door, whether it is his aunt or not because they can't understand each other.

Through the course of several accidents and chance encounters, Hanoch and Ruben will meet and each of them will have to face a page of his personal history, a page that they both need to turn for good.

A girl is at school. Suddenly it's as if she can't breathe. As she runs down the stairs we follow her into her mind. It takes us deep into dark woods.

Static images of an old country house are combined with voices of the past to evocative effect. Haunting and nostalgic, 'Return' conveys the life that exists in old, abandoned places.

Silence dominates the work, as does the screen rectangle, which cuts off the “image” from a life time-space continuum and imposes upon the image its particular character. Within it, there is a play between tonalities, textures, large and small shapes.

When robbers hit Falkenstein castle, teen witch Bibi and pal Tina hunt for the crooks, then devise a plan to save the neighbors' failing ranch.

People is a film shot behind closed doors in a workshop/house on the outskirts of Paris and features a dozen characters. It is based on an interweaving of scenes of moaning and sex. The house is the characters' common space, but the question of ownership is distended, they don't all inhabit it in the same way. As the sequences progress, we don't find the same characters but the same interdependent relationships. Through the alternation between lament and sexuality, physical and verbal communication are put on the same level. The film then deconstructs, through its repetitive structure, our relational myths.