Jump Ashin!

After Bruce and Laura Gunther return from their anniversary trip to Italy, Bruce realizes he is Patient Zero in bringing the Coronavirus to the ones he cares about most - his own family. Suffering from all the effects of his actions, Bruce must come to terms with this devastation before it consumes him and his family.

Witnessing their good friend trying to cope with his cancer, three teenagers are determined to make him lose his virginity in case he doesn't survive.

A story has a beginning, middle and an end, but it's not necessary that they be in that order. Girish Kasarvalli's award-winning Kanasembo Kudureyaneri (based on Amaresh Nugadoni's Savaari) is a classic example of this. The film applies a back and forth narrative to tell the story of gravedigger Irya and his belief in Siddhas, nomads whose arrival is considered auspicious. It is believed that if the death of a person coincides with the arrival of a Siddha, the soul is sure to go to heaven. Irya and his wife are made known of their arrival through dreams. In fact for Irya, if a Siddha appears in his dream, it denotes a death in the village. However, once despite dreaming of a Siddha, Irya is told that there is no death in the village. He goes to the house of an ailing village elder, anticipating his death but is sent back by the caretaker saying all is well. As if this is not enough, a Siddha not arriving in the village despite his wife having dreamt of his arrival, crushes Irya's faith in Siddhas, who he believes are his protectors. Is Irya an easy prey to superstitions or are scheming villagers exploiting his dreams for their own good? The film beautifully exposes the materialistic attitude of people. It leaves you wondering whether destroying one's beliefs is the only way to progress; whether there are chances of beliefs being mistaken for superstitions just because the ones who hold these beliefs are not part of the mainstream. While the first half of the film may have you raise your brows at Irya's and Rudri's dreams and faith, the second half sets out to suggest that what may look superstitious to one may be a way of life to the other. It also shows how sometimes what looks real may be unreal and vice versa, and that with faith in our beliefs, we can achieve anything.

Loya, a young Turkish storyteller battling cancer, fights for her life and her land that is destroyed by a Canadian gold mining company operated by her birth father.

A repressed night-school teacher, secretly homosexual, struggles to cope with his demanding, eccentric mother.