Amar Bhoopali

Having faithfully served his South Melbourne parish for nearly four decades, the cantankerous, controversial Catholic provocateur affectionately called Father Bob is well known and loved, as much for his incorrigible media savvy and battles with Church hierarchy as for his staunch advocacy on behalf of the disadvantaged and disenfranchised. In Bob We Trust goes behind the scenes with Bob, documenting his everyday trials during one of the most turbulent times in his career: his forced retirement and eviction from the church he called home for 38 years.

An archival investigation into the imperial image-making of the RAF ‘Z Unit’, which determined the destruction of human, animal and cultural life across Somaliland, as well as Africa and Asia.

Based on the previous 'Final Chapter', world history has now been modified and reconstructed. Although Kudo was able to release himself from the curse caused by demon soldiers, he now has no money. Despite losing the memory of the previous world, Kudo, Ichikawa and Tashiro continue to work together in producing a horror documentary.

A vigilante who is released from prison for a crime he did not commit sets out for one last blood-thirsty fight to seek redemption and vengeance.

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A lonely and embittered cab driver starts his own investigation in order to break the secret of a passenger he fell in love with.

While Robinette's old admirer isn't at home, she secretly meets Robinet. Suddenly the man returns and Robinet is forced to disguise himself as a woman.

This film by Stan Brakhage investigates the process of memory and thought by melting a series of images and a field of color. The positive-negative flickering graphs a sort of shutter-window all over the matter of the vision. Jittery flocks of space are interweaving as pieces of language in a scant illumination, whereas the process of thought is sheared in fuzzy transience.

Debuting Iraq-born, Netherlands-based writer/director Ibrahim Selman starts out on docu ground, with a voiceover explaining his objectives and the film’s stand-in location, and recalling Kurdistan before the advent of war. He then shifts into narrative mode, with glimpses of life in a mountain village caught in the conflict between Iraqi military authorities and peshmergas (guerrilla freedom fighters).

Even uninhabited archipelagos may be subject to drawn out territorial disputes if they are rich in oil deposits. However, the filmmaker is more concerned with how ownership issues reverberate amongst nationalists in competing countries rather than in the history of the dispute or its resolution, making it possible to present the patriotic pathos-soaked ceremonies of the Japanese, the efforts of Chinese authorities to complicate diversionary activities, and the expressive protests and bizarre rituals of Taiwanese activists. The desire to understand the situation leads the director to participate in several futile attempts to land on the islands. Although he finds himself on the frontline during an escalation in the conflict, he is able to maintain his distance as an impartial observer.

Through seven scenes, the film follows the life and destinies of stray dogs from the margins of our society, leading us to reconsider our attitude towards them. Through the seven “wandering” characters that we follow at different ages, from birth to old age, we witness their dignified struggle for survival. At the cemetery, in an abandoned factory, in an asylum, in a landfill, in places full of sorrow, our heroes search for love and togetherness. By combining documentary material, animation and acting interpretation of the thoughts of our heroes, we get to know lives between disappointment and hope, quite similar to ours.