Beauty Water looks like a common skin cosmetic. But unlike other cosmetics, people can sculpt their skin with it like molding clay and change their appearance. An ordinary girl, Yaeji, comes across the 'Beauty Water' by chance, and her endless desire to be the most beautiful woman brings her unimaginable disaster.
A socially awkward, neurodivergent youth struggles to adapt at a social gathering that quickly takes a turn into the uncanny and surreal.
An aspiring model with body dysmorphia must confront her insecurities as they begin to manifest as the twisted form of her own reflection.
"Dancing is sculpting in time." Diotima captures the fluid grace of two people sculpting time through dance, in a continuous one-take shot around Indy Simin's "Echt in Vorm." Their movements inside, around, and upon the sculpture reveal a simple unity, where shapes, dancers, and their environment are perpetually in motion, blending into an inseparable, seamless harmony of a never-ending dance.
After a worker kills a superior and commits suicide, each of his family members attempts to forge a path forward in life.
Distorted footage and audio of people
In Nadodimannan, Padmanabhan plays a village youth who does not have a particular inclination towards any political party and joins any protest being held. He earns a living by participating in demonstrations for various political parties. He then reaches the city where he is strung to the upper levels of society and gets elected as the Mayor. His conflicts and attempts to cleanse the city form the rest of the story
Synchronize is a tribute to the powerful effect movies can have on our imagination. This short film takes the viewer through the dream of a video store clerk whose vision is formed by the movies he sees and hears.
Alinur, a student filmmaker, tries to make a film about the apocalypse for his capstone project. The movie itself happens to be about a mercenary named M who inadvertently causes an apocalypse. As he tries to “create” the destruction of this supposed apocalypse through utilizing technical gimmicks that he has enforced onto the production of the film, this supposed effort also creeps in as a force that starts to “destroy” him, piece by piece. The outcome of it tests the sincerity of not only the film itself but also of the performative efforts that Alinur has made as a filmmaker—even this test might not be as sincere as it seems.
