In 1991, both two years after the fall of the Berlin Wall and the 30th anniversary of the guest worker agreement, Turkish filmmaker Can Candan interviewed members of Berlin's Turkish community about their experiences around German reunification and the racist violence that came along with it at the beginning of the 90s.
The film uses slides - photographic planes - which show different surfaces and finishes of a wall, which have been erroded by time. Kren stacks the positives and negatives of these pictures quickly one after the other, so that a moving relief-type structure develops through this combination of "two eyes." A mysterious ambiguous image manifests itself before us, surrounded by all kinds of possible mythological connotations. What is there to see?
Having finally secured her first assignment from her family's demolition business, Sam Walczak (Mischa Barton) is sent to supervise the destruction of an apartment house, only to discover a group of tenants still living in the condemned building. One such tenant, Jimmy (Cameron Bright), tells Sam an urban legend about a serial murderer who used to live in the building and entomb his victims in the walls. What's worse, the dead are believed to still harass the residents to this day.
When a film crew moves into an abandoned psychiatric hospital with a shadowy past to shoot a low budget horror film, they get more than they bargained for. The late nights and lack of sleep begin to take a toll, and the longer this crew works, the more the leaky, wet building seems to be coming back to life, feeding off its new inhabitants. As the shoot wears on, members of the crew exhibit increasingly strange behavior leaving those still sane realizing they need to get out of this place before they too succumb to the building's infectious hold, the only problem, the old hospital is not ready to let them go.
A Harvard Medical School graduate takes a position at a mental institution and soon becomes obsessed with a female mental patient, but he has no idea of a recent and horrifying staffing change.
An American art appraiser, Patrick Donovan, is sent to Venice to evaluate three paintings belonging to the famous Galleria dell'Accademia.
The wicked Alain plots an elaborate revenge against his younger brother Edmund, leading to a deadly confrontation in his dungeon deathtrap.
Paulo, a young pianist, meets Ilir, a double-bass player originally from Albania. It's love at first sight. Confronted by Anka, Paulo finds himself out on the street. Despite Ilir's misgivings, Paulo moves in with him. One day, when Paulo promises that he will love Ilir for the rest of his life, Ilir leaves the city and doesn't return. A few days later, Paulo finds out that Ilir is in jail, and the two lovers embark on an heart-breaking relationship.
The capital of Yemen, the city of Sana'a, holds an important part of history within its walls filled with medieval architecture and culture. But that same culture was about to disappear with the country's modernization which came after the civil war in the 1960's. To impeach such modern invasion, director Pasolini pledges to UNESCO for the recognition of Sana'a as a World Heritage Site.
A French fugitive arrives in Genoa, where he becomes entangled with an Italian woman and her daughter.
19-year-old Eric, arrogant and ultra-violent, is prematurely transferred to the same adult prison facility as his estranged father. As his explosive temper quickly finds him enemies in both prison authorities and fellow inmates — and his already volatile relationship with his father is pushed past breaking point — Eric is approached by a volunteer psychotherapist, who runs an anger management group for prisoners. Torn between gang politics, prison corruption, and a glimmer of something better, Eric finds himself in a fight for his own life, unsure if his own father is there to protect him or join in punishing him.
A World War II evacuee (Van Johnson) returns years later to England and finds his father in prison framed for murder.