Perheen musta lammas (1941)

When the world is gripped by a plague unleashed by the evil lord Chaos, and humans are turned into rabid creatures, mankind can only be saved by three young women, descendants of a Goddess, with the power to stop Chaos' evil.

Shimmy, a monkey newly discover superhero powers and learns how to control his extraordinary transformative abilities and prevent powerful demonic forces from sending the universe into chaos.

An expert hacker is targeted by a sentient AI after she realizes the threat it poses, and she must try to stay off its radar long enough to stop it.

Before the three feature films, Mario Schifano directs the camera towards the people around him to create real film diaries. His friends, his time partner and the artists he frequented are portrayed in their everyday life or object of the mechanical gaze of the camera, a filter through which to look at the outside world.

Rich and powerful Simon Qing has been schooled in the ways of sex by his virile father, but is still a virgin. That is, until he meets his first love Violetta who has fun with him all over his father’s estate. Their love does not last, so Simon embarks on a journey. Along the way he meets the comely nun Moon whom Simon deflowers and then marries. He then becomes enamored of Golden Lotus but she is married to dwarf Wu Da-Lang.

When Marty's car is stolen, he sets out on a mission to find it; however, he soon realizes that the person who stole it is much more dangerous than he thinks.

Verity and Peter’s trip to the old family mansion takes a turn when the floor of their room suddenly gives way and they fall into an underground chamber where they are met by a civilization of creatures. The leader tells them that Peter's arrival was foretold as he’s the one who can use Great Clock of the Citadel to restart time and destroy the Shroud, a malevolent creature who feeds on fear itself...

Roughly chronological, from 3/96 to 11/96, with a coda in spring of 1997: inside compounds of Aum Shinrikyo, a Buddhist sect led by Shoko Asahara. (Members confessed to a murderous sarin attack in the Tokyo subway in 1995.) We see what they eat, where they sleep, and how they respond to media scrutiny, on-going trials, the shrinking of their fortunes, and the criticism of society. Central focus is placed on Hiroshi Araki, a young man who finds himself elevated to chief spokesman for Aum after its leaders are arrested. Araki faces extreme hostility from the Japanese public, who find it hard to believe that most followers of the cult had no idea of the attacks and even harder to understand why these followers remain devoted to the religion, if not the violence.

A turbulent day in a life, painted by air.

"This piece, with the generic title Film, is a series of short videos built around one protocol: a snippet of news from a newspaper of the day, is rolled up and then placed on a black-inked surface. On making contact with the liquid, the roll opens and of Its own accord frees itself of the gesture that fashioned it. As it comes alive in this way, the sliver of paper reveals Its hitherto unexposed content; this unpredictable kinematics is evidence of the constant impermanence of news. As well as exploring a certain archaeology of cinema, the mechanism references the passage of time: the ink, whether it is poured or printed, is the ink of ongoing human history." –Ismaïl Bahri