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A CIA operation to purchase classified Russian documents is blown by a rival agent, who then shows up in the sleepy seaside village where Bourne and Marie have been living. The pair run for their lives and Bourne, who promised retaliation should anyone from his former life attempt contact, is forced to once again take up his life as a trained assassin to survive.
An interstellar teleportation device, found in Egypt, leads to a planet with humans resembling ancient Egyptians who worship the god Ra.
Heidi heads to the Heidelberg Christmas market to sell her hand-painted ornaments. While there, she falls for a local artisan who helps her reconnect with her lost heritage.
The joys of motherhood is overshadowed by agony when Nkechi discovers that her daughter, Kamsi, is bound to the cyclical existence of the Ọgbanje—a spirit child trapped in the maze of life, death, and rebirth.
After a difficult break-up, Hockney is left unable to paint, much to the concern of his friends.
Drawing on the vocabulary of the film still and tableau vivant, the film witnesses actor/ models preparing and performing a series of choreographed still scenes based on common cinematic and everyday scenarios. At the centre of the film is the use of cinematic devices to draw an audience into the fiction of the still enactments. Short sections of footage shot ‘between takes’ interrupt these evocative passages, addressing the audiences will to suspend their disbelief or be reminded of the conditions of the films production.