Dillon stumbles on a little known news story about a company called Life Tracker Limited, which claims it has discovered a way to predict biological events in a human’s life by looking at their DNA. Everyone views the story as a modern day form of palm reading that will go nowhere, but Dillon keeps turning on his camera when he finds articles on the Internet or hears about it on the news.
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It is the year 2037. Our world is dying, slowly, from a virus that has rendered mankind infertile. Not a single child has been born in 25 years. Governments are now powerless puppets for the biggest corporations and Biocorp, the world’s biggest, keeps promising a cure that never comes
After years of killing for a man only known as “The Boss”, Serena is burnt out. When she is hired for one final job, she teams up with an underground renegade group to stop her replacement from executing the assassination.
After years of rotting in Joliet, Les, a wrongfully imprisoned street legend known as “The Ghoul”, is released into a mad search through Chicago’s back alleys for the man who slaughtered his mother and robbed him of his soul. Aided by mysterious benefactors, he must delve beneath the city into a modern labyrinth of gutters whose tendrils have grown deep while he was gone. What unfolds is a desperate tale of brute force tragedy set in the supernatural underworld of Chicago, where heroes are reduced to horror-shows, villains dream of their own demise, and good and evil prove to be antiquated concepts.
Since they were both five, Ryosuke has been stalked by Momoko – the ugliest girl in the village. Her love for Ryosuke is so boundless that she has her face surgically altered to suit his taste – but still he wants nothing to do with her. Ryosuke goes in for fleeting romance – for example, with the girlfriend of a gangster boss. But when he finds out about their affair, he has Ryosuke’s little finger hacked off. Magically, the finger falls into Momoko’s hands, and she uses it to clone Ryosuke, so she can finally have him (or almost him) for herself. And this is just the first five minutes of Lisa Takeba’s short-but-powerful feature debut. Just like in her previous short films, the director – who cut her teeth in the advertising world and as the writer of a video game – throws a lot of genres and techniques into the mix: from science fiction to gangster films, from hospital eroticism to animation. Hectic and absurd, but with its heart in the right place. © IFFR
A young woman named Noah lives alone in New York. She is a disturbed flower child, who retreats into her past, yearning for lost innocence. She recalls her childhood, searching for a “safe place.” As a child she met a magician in Central Park who presented her with magical objects: a levitating silver ball, a star ring, and a Noah’s ark. She is romantically involved with two totally different men. Fred is practical but dull. Mitch is dynamic and sexy, her ideal fantasy partner. Neither man is able to totally fulfill her needs.
Something or someone is attacking people one by one on the beach. Some of them are mutilated, but most of them are sucked into the sand, disappearing without a trace. What is the creature responsible? Where does it live, and where did it come from? And is there any chance of it reproducing? Meanwhile, David Huffman and Mariana Hill are once-almost-married old friends, reunited over the death of her mother on the beach, and searching for clues in the abandoned buildings where they used to play when they were young.
Megaforce is an elite multi-national military unit that does the jobs that individual governments wont. When the peaceful Republic of Sardun in under threat from their more aggressive neighbour the beautiful Major Zara (Persis Khambatta) and General Byrne-White (Edward Mulhare) see the help of Ace Hunter (Barry Bostwick) and Megaforce.