Henderson’s work emerges from dreams and the movement of their images and experiences into her waking life. In processing these subconscious traces the narratives slip through memories and clichés, desires and trauma. She persistently establishes quotidian objects as near characters before altering them in abrupt or impossible ways: a play of expectation and surprise. The film’s succession of events is carefully planned so it can be edited in camera, captured in single shots as if experiencing the dream. In this Surrealist tradition, everyday objects are manipulated by unseen hands and the sequenced juxtaposition of these moments creates a narrative that is at once absurd and highly familiar. These sequences allude to chain reactions, operations carried out with focused concentration to meditate on the banal and uncanny with equal attention, troubling out their esoteric truths.
When the crew of the Enterprise is called back home, they find an unstoppable force of terror from within their own organization has detonated the fleet and everything it stands for, leaving our world in a state of crisis.
Julian, who runs a Thai boxing club as a front organization for his family's drug smuggling operation, is forced by his mother Jenna to find and kill the individual responsible for his brother's recent death.
In a future where a failed global-warming experiment kills off most life on the planet, a class system evolves aboard the Snowpiercer, a train that travels around the globe via a perpetual-motion engine.
It’s been 20 years since the corporations took over the world’s governments. Their thirst for power and profits led to the Corporate Wars, a fierce global battle that laid waste to society as we know it.
In Verona, bad blood between the Montague and Capulet families leads to much bitterness. Despite the hostility, Romeo Montague manages an invitation to a masked ball at the estate of the Capulets and meets Juliet, their daughter.