S1.E4 ∙ Voodoo

Filmmaker Mitra Farahani portrays love and sex in today's Iran. One part fiction and one part documentary, the film was shot secretly and is banned in its native country. The fictional part is based on "The story of Zohra and Manouchehr" poem of Iraj Mirza.

EXTENDING THE PLAY is not about basketball. It is a unique story about redemption, opportunity, passion, love, humility and the trials and tribulations that arise while chasing a dream. The story examines the lives of Kasey and Bracey Ulin, a husband and wife who are currently two of the top basketball players in Luxembourg. Coming from opposite coasts in the USA, they both have intriguing individual journeys leading up to their introduction in 2007 while playing in Germany. They have went through some major conflicts since meeting, even finding themselves away from basketball during the prime of their careers. But since, have returned overseas to finish off their amazing storybook careers. Currently, Kasey seems to be getting better with age. He is the leader of his team and a mentor to the younger players. But at 31, he knows the end of his career could be approaching quicker than he'd like. Bracey plays a similar role on her team. She gets better and better every season, but cannot help to get excited about starting a life after basketball. They live a very unique life in Europe. One that many people would find interesting. This documentary will tell the very unique story of how they got to where they are, what everyday life is like for this type of life, and will answer the question of how long they will want to keep Extending the Play.

After breaking the silence on bullying in schools, the animator Jasmin Roy is now tackling violence among girls and especially the daily aggressions to which those females 13 to 17 years.

The inhabitants of this city undergo the sessions on the couch. Unlocked by formally trivial questions, they begin their journey into the depths of their own feelings and emotions towards the place where they live. The city itself becomes only a starting point. Over time, conversations get more intimate. The scenes from life, reminiscences and highly emotional moments interlace with the subjectively perceived shots of the city. They are blending together, complementing and interacting with each other. The fears of the film characters, their desires and unfinished affairs become the narrative axis of the film by constituting a common fate.

In the summer of 1987, Tonin Gjini swam from Albania to Yugoslavia, in search of freedom. Three decades later, he revisits the locations and recreates the events of that unforgettable experience.