A young man living in a cold southern village in South America, decides to start a trip looking for his father. By doing this he discovers unexpected facts about his Latin American essence.

In 1988 Cynthia Beatt and the young Tilda Swinton embarked on a filmic journey along the Berlin Wall into little-known territory. The film CYCLING THE FRAME is now an unusual document. 21 years later, in June 2009, Beatt & Swinton re-traced the line of the Wall that once isolated West Berlin. THE INVISIBLE FRAME depicts this poetic passage through varied landscapes, this time on both sides of the former Wall.

Twenty-seven-year-old Noriko lives with her widowed father, a university professor, in a small house in the tranquil surroundings of northern Kamakura. He is completing a scientific manuscript, aided by his assistant, Hattori. Professor Sonomiya is concerned for his daughter s welfare, and one day suggests she marry Hattori. Noriko only laughs at his suggestion because she is quite happy with her life and knows that Hattori is already engaged. Her aunt Masa, the professor s sister, is the next person to try out her matchmaking skills, and she talks Noriko into meeting Mr Satake. Although Noriko quite likes him, she rejects all thoughts of marriage because she doesn t want to leave her father all alone. When she meets Professor Onodera, an old friend of her father s, in a museum one day and he tells her that he has just remarried, Noriko can hardly disguise her dismay. One of Ozu's favorite themes is the opposing desires of and friction between members of a family even though they feel deep affection and loyalty to each other. Inevitably, these interactions within a family, and particularly the problems which arise between parents and children, will result in some sort of separation. For Noriko it is the separation of marriage, in other Ozu stories it may mean being employed away from home or death. While Ozu is saddened by these events, he also recognizes that they are unavoidable. This awareness of the inherent transience and sadness of human existence is what the Japanese call mono no aware." Beverley Bare Buehrer

It might take two viewings to grasp fully what Fernando Pérez is doing in "Suite Habana," an elusive but intermittently beautiful tone poem on film. There is virtually no dialogue. There are no story lines that build to a climax, no documentary-style voice-overs. There are just snippets from a day in Havana, so disjointed and seemingly random that it takes a while to realize that Mr. Pérez is focusing on 10 specific individuals, tracking them through 24 hours in their painfully ordinary lives.

In a remote village nestled in the foggy hills of northern Bangladesh, Rupa fights against a predetermined destiny. With only a bike, a camera and her knowledge, she defies traditions and tries to make a place for herself in her community. When a twist of fate hits her family, Rupa’s freedom is threatened. Will she be able to maintain the fragile balance between the expectations of her loved ones and her own dreams?