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A filmmaker returns to Northeast Brazil after twenty years to resume his film (a profile of assassinated peasant leader João Pedro Teixeira) which was shut down by a right-wing military coup in 1964.

To trace the fading past of his parents, a grizzled Greek-American filmmaker decides to shoot a movie. By recounting the painful efforts of his mother to reunite with his musician father, his film spans more than half of the 20th century.

Hamoon's wife is leaving him. He is also unsuccessfully trying to finish his Ph. D. thesis. He is forced to reexamine his life. In a series of flashbacks and dreams, Hamoon tries to figure out what he did wrong.

Surrounded by the careless family and neighbors, Fang Xiuying is deprived of all intellectual abilities and she slowly dies in a modest room, in some of the villages of South China.

Impressions of the rue Mouffetard, Paris 5, through the eyes of a pregnant woman.

The 15 minutes film features a "football" in the main lead. The philosophical and thematic meanings can be derived by the viewer with their own instinct.

When the movie opens, a woman is recalling the events that molded her perspective on the world. Years ago, her husband, a wealthy Western-educated landowner, challenged tradition by providing her with schooling, and inviting her out of the seclusion in which married women were kept, to the consternation of more conservative relatives. Meeting her husband's visiting friend from college, a leader of an economic rebellion against the British, she takes up his political cause, despite her husbands warnings. As the story progresses, the relationship between the woman and the visitor becomes more than platonic, and the political battles, pitting rich against poor and Hindu against Moslem, turn out not to be quite as simple as she had first thought.

A suggestible working-class innocent wins the lottery but lets himself be taken advantage of by his bourgeois new boyfriend and his circle of materialistic friends.

In "Landscape Suicide" Benning continues his examination of Americana through the stories of two murderers. Ed Gein was a Wisconsin farmer and multiple murderer who taxidermied his victims in the 1950s. Bernadette Prott was a California teenager who stabbed a friend to death over an insult in 1984. Benning's distanced approach to such grisly material is as far removed as possible from sensationalism, however. Although the acts of murder are both bizarre and violent, Benning dwells on them only minimally, emphasizing instead the details of psychological motivation, which in both cases seem frighteningly mundane. Benning has created a script which is a masterpiece of understated colloquial writing, and the actors he employs to re-enact confessional testimony and incidents recounted in trial transcripts perform with a flatly convincing lack of affect reminiscent of Gary Gilmore. The two monologues are embedded in Benning's characteristic meditations of landscape: long shots of the Wisconsin farmlands, general stores, dirt roads and pick-up trucks, and the carefully tended lawns, swimming pools, sprawling bungalows and malls of the middle-class California suburb. These images are offered in the classically spare mise-en-scene which Benning has perfected in his work as a cinematic poet of the contemporary American environment. Here, in his most accessible film so far, the beautiful, open vistas are dense with the significance of the catastrophes they engendered

The legendary Forty-seven ronin plot to avenge the death of their lord, Asano Naganori, by killing Kira Yoshinaka, a shogunate official responsible for Asano being forced to commit seppuku.

A kabuki actor's mistress hatches a jealous plot to bring down her lover's son.

At every station, between sites filled with poetry and nostalgia for a bygone era, the poet's dashed dreams and idealized vision of her country coincide with the director's own.

An experimental retelling of the story of Adam and Eve which then progresses into an allegorical depiction of loss of innocence.

The impact of the decline of heavy industry on workers and their families in the Tiexi district of Shenyang, China, at the turn of the 21st century, documented unflinchingly by a fly-on-the-wall camera.

After the doctor's refusal to perform abortion on a 17-year old girl, she and her boyfriend have to cope with the new situation. They both need to learn to take responsibility for their decisions, in spite of numerous hardships facing them.

An elderly professor's ordered life spins dangerously out of control when he falls for a nightclub singer.

Anne Goupil is a literature student in Paris in 1957. Her elder brother, Pierre, takes her to a friend's party where the guests include Philip Kaufman, an expatriate American escaping McCarthyism, and Gerard Lenz, a theatre director who arrives with the mysterious woman Terry. The talk at the party is about the apparent suicide of their friend Juan, a Spanish activist who had recently broken up with Terry. Philip warns Anne that the forces that killed Juan will soon do the same to Gerard. Gerard is trying to rehearse Shakespeare's "Pericles", although he has no financial backing. Anne takes a part in the play to help Gerard, and to try to discover why Juan died.

The Egyptian architect Hassan Fathy talks about his life and work. Footage of Cairo, Gharb Assouan, New Gourna, Kom-Ombo.

This film is the one and only testimony shot in the depths of the former "Liberated Zone" of Dhofar, Sultanate of Oman, on a totally secular, democratic and feminist social experience in Arab and Muslim lands.

The rise and inevitable fall of an amoral but naive young woman whose insouciant eroticism inspires lust and violence in those around her.

A young woman in pre-revolution Iran is caught between the traditional values of her small village and her own yearnings for independence and individuality. Her persistent refusal of marriage proposals coupled with her unseemly removal of her hood causes her family to seek the help of an exorcist, convinced she must be possessed by evil spirits.

Hashem (Zakariya Hashemi) is a cab driver who finds an infant child in the back seat of his cab one night after he gives a ride to a young woman. He and his girlfriend, Taji (Taji Ahmadi), try to cope with this unwanted child. Hashem insists on getting rid of the child, Taji on keeping him.

A filmmaker watches an archive of films from the period of the Palestinian revolution...

Tara, the young beautiful widow, returns with her two little kids from country to her village. In her way home, she finds out that her grandfather has passed away. She distributes grandpa's belongings among her neighbours. But there remains an old sword that no one accepts. One day on the road, she meets an old-time warrior. He claims that his clan have sent him to present time to take the old sword back. Tara finally submits the sword to him, but he comes back saying that he has fallen in love with her.