Brendan is a janitor at a university who has a fondness for gambling, especially betting on horse races. However, he doesn't have much skill at it, and poorly considered bets have drained the bank account he'd set aside for his daughter's education. Brendan's wife has made Brendan promise to give up gambling, but when their daughter announces she's just been accepted to Trinity College in Ireland, Brendan has to come up with the tuition money, and fast. While doing his sweeping at work, Brendan makes a remarkable discovery - the preserved head of an aboriginal tribesman who, under proper conditions, can pick the winners in horse races.

Charting the beginnings of the time, through the descent of man, on to an uncertain future - all shot throughout the seasons in the garden of S, who lives in the wilderness and builds contraptions.

Kay Woodbury is a powerful and tough judge who has not spoken to her father since he tried to involve her in a scam. At her latest case, she deals with Sally Powell, a troubled and rebellious teenager who has been in several foster homes in her life.

An amateur pornographer, a relentless mob hit-woman, and her effeminate hair-dresser son find their lives on a violent collision course is New Zealand director Patrick Gillies' tasteless and irreverent crime comedy.

Denise has been slaving away as an obit writer for the Tribune, dying for her chance to become a reporter. One of the tribune's writers has recently died of old age, and Denise jumps at the opportunity to take over his job, tactlessly hounding her boss, ROGER, in the midst of the funeral. That night, unable to sleep, Denise goes for a late-night jog...where she stumbles upon a dead body and promptly faints from the shock. When she comes to, amidst all the police activity, Denise spots SIMON, her rival and one-time lover, performing his new reporting duties. The next day, Denise's friend and coworker, LUKE, informs her of the name of last night's victim. Shocked, Denise realizes that she saw the deceased's obituary in a newspaper last night, before the time of death. But when she tries to track down the article, it's nowhere to be found. Soon, Denise's computer displays a mysterious message: another obit. But when she tries to print she ends up with blank paper, and the message erases itself. Sure enough, the next day the woman turns up dead. Denise knows she has no proof of what's happening to her, so she begins her own investigation.

A blend of reality and fiction, "Open Five" follows the story of Jake, a struggling musician and his sidekick, Kentucker, a maker of "poor" films and what happens when two girls (Lucy and Rose) venture down to Memphis for a long weekend.

Centered on the sinking of the USS Indianapolis, which had been torpedoed by a Japanese submarine on July 30, 1945 in the Philippine Sea. Of the estimated 900 men who survived the attack, only 317 were rescued after four days in shark infested waters. The Discovery Channel describes the event as "the worst shark attack in history."

A premonition of a horror film, lurking danger: A house - at night, slightly tilted in the camera's view, eerily lit - surfaces from the pitch black, then sinks back into it again. A young woman begins to move slowly towards the building. She enters it. The film cuts crackle, the sound track grates, suppressed, smothered. Found footage from Hollywood forms the basis for the film. The figure who creeps through the images, who is thrown around by them and who attacks them is Barbara Hershey. Tscherkassky's dramatic frame by frame re-cycling, re-copying and new exposure of the material, folds the images and the rooms into each other. It removes the ground from under the viewer's feet and splits faces, like in a bad dream. From the off, from outer space, foreign bodies penetrate the images and cause the montage to become panic stricken. The outer edges of the film image, the empty perforations and the skeletons of the optical sound track rehearse an invasion. They puncture the anyway indeterminate action of the film. Cinema tearing itself apart, driven by the expectation of a final ecstasy. Glass walls explode, furniture topples over. Tscherkassky puts his heroine under pressure, drives her to extremes. Time and time again she appears to hit out against the cinematic apparatus, until the images begin to stutter, are thrown off track...

Feeling lost and disconnected, with no family of his own, veteran Sherman Oliver sets out to the countryside in search of the soldier who saved him back in the war. That man, Franklin Page, has long since moved on - to a wife, two children, and a reliable job in a reliably safe and quiet rural town. Upon arriving, Sherman seems at first a harmless if awkward shell of a man. But as he inserts himself further into the Pages' life, he reveals himself to be an angry, unstable individual prone to great jealousy and deep resentment. The stability Franklin worked so hard to establish is soon threatened, and the violence he believed he'd left behind in the war begins to re-emerge and cloud over both the household and the town itself.

A city rat pursues a nearly empty bag of cheese snacks that's drifting in the breeze. His journey takes him through a vent into a highly mechanized rat lab, where one particular white female gets his attention. The attraction seems mutual. Now, is there any way out? Bar codes and coincidence figure in the resolution.