A car crash victim inexplicably finds himself aroused by car accidents and becomes involved with an underground subculture of like-minded souls.

Parisian everyman Antoine Doinel has married his sweetheart Christine Darbon, and the newlyweds have set up a cozy domestic life of selling flowers and giving violin lessons while Antoine fitfully works on his long-gestating novel. As Christine becomes pregnant with the couple's first child, Antoine finds himself enraptured with a young Japanese beauty. The complications change the course of their relationship forever.

Young Pud is orphaned and left in the care of his aged grandparents. The boy and his grandfather are inseparable. Gramps is concerned for Pud's future and wary of a scheming relative who seeks custody of the child. One day Mr. Brink, an agent of Death, arrives to take Gramps "to the land where the woodbine twineth." Through a bit of trickery, Gramps confines Mr. Brink, and thus Death, to the branches of a large apple tree, giving Gramps extra time to resolve issues about Pud's future.

If there is one person Matthew Lancit can’t get out of his mind, it is his uncle Harvey. Dark rings around his eyes, pale, blind, his legs amputated. Like Harvey, the filmmaker also suffers from diabetes. He has the disease under control, but one question is always nagging at him: How much longer? His long-term (self-)observation reliably revolves around fears of infirmity and mutilation. He translates the feared body horror into film, stages himself as a zombie, vampire, a desolate figure. Lancit playfully anticipates his potential decline, serving up a whole arsenal of effects which – as video recordings prove – go back to his youth. It is not for nothing that the “dead” in the title is also reminiscent of “dad.” Because “Play Dead!” also negotiates his own role as a father.

Reminiscent of Sunset Boulevard, the action is transposed from the silver screen's old backlots to contemporary male prostitution and the pornographic industry.

Four thirtysomethings convene for a wine-fueled dinner party that turns increasingly intimate as they discuss everything from religion and ghosts to relationships and sexual fetishes.

At the age of 8, Vaselinetjie is taken away by the Welfare and send to the orphanage. It's a strange, hard, dangerous world of rebel children, fierce house mothers,friends, first loves and where she finally finds true self-acceptance.

During the annual Christmas gathering at the family home, the parents surprise their children by announcing their decision to move in with one of them and pass on the house.

Two tortured souls meet and end in pain and mutilation.

A group of high-powered, middle-aged white men go to this place to take refuge from the stresses of their daily lives and spend time relaxing and regressing as “adult babies.” It’s set in a beautiful, secret location but this is not their only function. As adult babies, they are there to refuel the world’s economy by sinister and unusual means.

Loosely based on the classic story of Sleeping Beauty, this irreverent gay fairy tale for modern audiences follows a man named Moses, whose frequent seizures are characterized by the appearance of Glintentica, a spurned Goddess planning her return to earth. Problems arise when Glintentica becomes determined to take over the soul of David, Moses' new love interest.

When she is slightly hurt in the factory where she works, Iris quits her job and finds a new one as an assistant in a laboratory of a very peculiar kind. Without fully grasping what is at play around her, she gradually engages in a disturbing love affair with her enigmatic employer.