A high-speed drive through the streets of Paris.

After a dreadful incident coupled with an ungovernable paroxysm of violence, a butcher will fall into a downward spiral that will burn to the ground whatever dignity still remained in him.

A distraught squatter tries to cope with his werewolf nature through drugs and music.

The O'Dell farm is on the rocks. A non-traditional accountant comes with a variety of ways to save the farm.

An animated short based on Hans Christian Andersen's tale about a poor young girl with a burning desire to find comfort and happiness in her life. Desperate to keep warm, the girl lights the matches she sells, and envisions a very different life for herself in the fiery flames filled with images of loving relatives, bountiful food, and a place to call home.

A library assistant plods through an ordinary life in LA until a chance meeting opens his eyes to the power of creativity and ultimately, love. When this new life and love begin to fall apart, he discovers he has a lot to give. This short film proves that ordinary is no place to be.

A superstitious guy, Bien, seeks all sorts of “divine” signs that will determine his decision of asking the girl of his dreams out on a date. The fear of rejection swallows him whole, making him justify his cause to seek for more unfathomable signs. But when each sign he asks for materializes, he soon learns that he has to be careful with what he wishes.

The seven short films making up GENIUS PARTY couldn’t be more diverse, linked only by a high standard of quality and inspiration. Atsuko Fukushima’s intro piece is a fantastic abstraction to soak up with the eyes. Masaaki Yuasa, of MIND GAME and CAT SOUP fame, brings his distinctive and deceptively simple graphic style and dream-state logic to the table with “Happy Machine,” his spin on a child’s earliest year. Shinji Kimura’s spookier “Deathtic 4,” meanwhile, seems to tap into the creepier corners of a child’s imagination and open up a toybox full of dark delights. Hideki Futamura’s “Limit Cycle” conjures up a vision of virtual reality, while Yuji Fukuyama’s "Doorbell" and "Baby Blue" by Shinichiro Watanabe use understated realism for very surreal purposes. And Shoji Kawamori, with “Shanghai Dragon,” takes the tropes and conventions of traditional anime out for very fun joyride.

Aïssa is a Congolese immigrant in France. She says that she is under eighteen but the authorities consider her an adult. To determine if she can be deported, a doctor must give her a physical examination.

Camila broke up with her boyfriend recently. She's been going out and spending time with her girlfriends and her dog.

The intersecting lives of two otherwise unrelated people in a rural Bolivian village adjacent to the Uyani salt flats are presented. The first is Carlos, a poor salt miner. Unlike his colleagues, he is unwilling to take the one time compensation package from an American conglomerate who wants to purchase the mining rights. Carlos would rather get paid for doing actual work than risk living off a one time payment without a guarantee of any other work in the area. Carlos being the one holdout irks his fellow miners, who cannot get their compensation until Carlos also agrees to the terms. Carlos views all gringos in a bad light because of this situation. The second is Marc, an American doctor who has worked in various third world countries providing aide where needed. Marc is completing his term here. Carlos and Marc have a turbulent few meetings based on Carlos' feelings toward gringos and his want for a simple stable life.

Fisnik is about to embark on a absurd journey in creating a fake weeding video, to get the German visa. He has to succeed in convincing his family, friends, and his ex to join him in this crazy journey.