The tragicomic story of lone rebel Boddi Steingrimsson who lives in a small town in Northern Iceland. Boddi hates materialistic modern society in its entirety and on his blog-page he comically criticizes everything and everyone. Before long he has become an outlaw in his own hometown, just like his viking hero, Grettir. After a series of dramatic mishaps, he snaps and goes riding down south to the big city on his sturdy steed Nietzsche. He's got a gun in his pocket. He's ready for the revolution.

It's not that T.J. doesn't love his parents, it's just that he's trying to kill them. Thirty-two, unemployed, and derailed somewhere on the path to adulthood, T.J. has boomeranged back home....

All Fife Bartlett wants to know is: why won't her boyfriend pee on her?.

Go Eun (Song Yoon Ah), a wedding dress designer and single mom, has only a limited number of days to live. Before parting from her young daughter So Ra (Kim Hyang Gi), Go Eun wants to do ....

The inspiring story of four refugees fleeing Vietnam in 1980, MOTHER FISH goes inside the mind of one of the survivors. The present melds with the past as a quiet factory worker relives the....

A young female veteran has three days to kill an innocent man or they both die..

After flipping through an adult book, 12-year-old Stewart learns of society's attitude toward kids learning about sex, despite sex's prevalence throughout our daily lives..

Boston top lawyer George Wickersham returns to his ancestral summer house on a private island in rural Maine, which he dislikes for memories's sake, intending to sell it quickly. However he lets his wife, a petty painter, persuade him to keep it at least one year to try turning it into a sumer home for young artists. She gets her way, but an alleged curse seems to come trough. George's fatal accident there is only the first of many people around her to be hit hard while she develops a theory it all races back to his ancestor Jebidiah Wickersham, who built it from the profits of the slave trade.

A married woman negotiates her persona during one evening with a married man at a spouse swapping party. Each one claims to be the passive party of their marriage, and describe their positions as "just going along with it." The couple struggles with their discomfort, as they search for some way to communicate. It is clear that they are meeting for the first time, and need to deal with the traditional rules of courtship, however truncated. In general, the man is given the role of pursuer, and the woman is expected to be somewhat reserved. Do these rules still apply at a spouse-swapping party? Can a woman avoid being condemned for agreeing to participate in such an event, or even worse, enjoying the encounter? These are the challenges that each character faces, seeking to establish some context to allow them to proceed to the expected sexual encounter. It is as though the ending were already written, and the couple is trying to fill in the preliminaries, so the ending might be justified. Chris Anderson's sensitive piano score provides the perfect background for the scene.