{"id":525,"date":"2023-10-04T21:54:19","date_gmt":"2023-10-04T21:54:19","guid":{"rendered":"http:\/\/cinemaking.org\/?page_id=525"},"modified":"2023-11-12T21:05:39","modified_gmt":"2023-11-12T21:05:39","slug":"2nd-edition-selection-list","status":"publish","type":"page","link":"https:\/\/cinemaking.org\/?page_id=525","title":{"rendered":"2’nd Edition Selection List"},"content":{"rendered":"

2’nd CinemaKing International Film Festival 2021 Selection List\u00a0<\/strong><\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Country SL<\/td>\nCountry Name<\/td>\nSL<\/td>\nFilm Name<\/td>\nDirector Name<\/td>\nDuration<\/td>\n<\/tr>\n
1<\/td>\nAfghanistan<\/td>\n1<\/td>\nColorless<\/td>\nAbdul Hamid mandgar<\/td>\n6:55<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nWho<\/td>\nKhadije zafary<\/td>\n8:44<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
2<\/td>\nAlbania<\/td>\n1<\/td>\nEncounter in the Air<\/td>\nArdit Sadiku<\/td>\n1:30:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
3<\/td>\nAlgeria<\/td>\n1<\/td>\nWhite Night<\/td>\nIssam Taachit<\/td>\n7:12<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nIn our hands<\/td>\nMustapha Benghernaout<\/td>\n3:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nWater is life<\/td>\nMustapha Benghernaout<\/td>\n2:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nBridge<\/td>\nBoukef med Taher Shawki<\/td>\n5:17<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\nAngola<\/td>\n1<\/td>\nWHY<\/td>\nNuno Barreto<\/td>\n4:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
5<\/td>\nArgentina<\/td>\n1<\/td>\nThe Tree Has Been Planted<\/td>\n\u00a0Irene Blei<\/td>\n0:07:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
6<\/td>\nArmenia<\/td>\n1<\/td>\nBlack Home White Home<\/td>\nGarush Ghazaryan<\/td>\n10:16<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\nAustralia<\/td>\n1<\/td>\nInspiration Plains<\/td>\nHarriet McKern<\/td>\n4:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nAn Unscripted Earth<\/td>\nJonathon Parker, James Holloway<\/td>\n1:12:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
8<\/td>\nAustria<\/td>\n1<\/td>\nPick Up Your Cross (and follow me)<\/td>\nMichael J. Keplinger<\/td>\n2:53<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\nAzerbaijan<\/td>\n1<\/td>\nSholler’s Archive<\/td>\n\u00a0Jalaladdin Gasimov<\/td>\n1:28:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nExecution Day<\/td>\n\u00a0Jalaladdin Gasimov<\/td>\n1:35:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
10<\/td>\nBangladesh<\/td>\n1<\/td>\nAgameekal<\/td>\nAnjan Aich<\/td>\n1:38:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nAgust 1975<\/td>\nMd. Selim Khan<\/td>\n1:40:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nAmi Neta Hobo<\/td>\nUttam Akash<\/td>\n2:40:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nBikkop<\/td>\nShamim Ahamed Roni<\/td>\n0:00:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nCaptain Khan<\/td>\nWazed Ali Sumon<\/td>\n0:00:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n6<\/td>\nChokh ( eye )<\/td>\nAsif Iqbal Jewel<\/td>\n1:38:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n7<\/td>\nPure Jay Mon<\/td>\nApurba Rana<\/td>\n0:00:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n8<\/td>\nPagoler Moto Bhalobasi<\/td>\nMd Atikur Rahman Lovlu<\/td>\n0:00:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n9<\/td>\nShahenshah<\/td>\nShamim Ahamed Roni<\/td>\n2:32:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n10<\/td>\nTungipara’r Miya Bhai<\/td>\nMd. Selim Khan<\/td>\n0:00:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n11<\/td>\nMegher Onek Rong<\/td>\nHarunur Rashid<\/td>\n1:49:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n12<\/td>\nBornomalar Michil<\/td>\nSimanto Sajal<\/td>\n0:39:56<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n13<\/td>\nours, Pradyot Bhattachariya<\/td>\nAmit Rudra<\/td>\n0:35:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n14<\/td>\nMemory War 71<\/td>\nShaeem Jahangir<\/td>\n18:55<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n15<\/td>\nYou are the Prince<\/td>\nCinemaking Team<\/td>\n5:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n16<\/td>\nShahid Kadri’s Poem<\/td>\nMonjurul Imran<\/td>\n0:31:59<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n17<\/td>\nFear<\/td>\nRoman Shuvo<\/td>\n1:50<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n18<\/td>\nShame BODY Shame<\/td>\nKhalid Bin Rafiq, Safa Haq<\/td>\n1:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n19<\/td>\nNight Alone<\/td>\nMD. Sakib Hossain<\/td>\n3:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n20<\/td>\nOboshad<\/td>\nAhmed Ifty<\/td>\n2:21<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n21<\/td>\n7PM<\/td>\nMostafah Mahmud Sakib<\/td>\n1:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n22<\/td>\nThe Day<\/td>\nAbeer Modak<\/td>\n5:22<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n23<\/td>\nRue<\/td>\nMusa Ahmed<\/td>\n1:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n24<\/td>\nAftertaste<\/td>\nRuponti Das, Anik Das<\/td>\n5:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n25<\/td>\nCircle of Circles<\/td>\nShohel Shahriar,Iqbal Mahmud<\/td>\n13:01<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n26<\/td>\nThe crocodile<\/td>\nAMIT RUDRA<\/td>\n3:12<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n27<\/td>\nKonti Sotto<\/td>\nMd. Yusuf Ahmed Tamim<\/td>\n2:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n28<\/td>\nMobile = Virus?<\/td>\nMd. Yusuf Ahmed Tamim<\/td>\n6:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n29<\/td>\nThe Error<\/td>\nMusa Ahmed<\/td>\n1:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n30<\/td>\nJanapada<\/td>\nRudra Kawser<\/td>\n11:09<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n31<\/td>\nChakrabyuha<\/td>\nLaboni Ashrafi<\/td>\n8:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n32<\/td>\nMon Oronne<\/td>\nFaisal Ibne Mizan Ray<\/td>\n11:33<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n33<\/td>\nABIRAM YATRA \u2026 An Endless Journey<\/td>\nB. M. Shahed Mehdi<\/td>\n13:58<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n34<\/td>\nA Tale Of Yourself<\/td>\nArnab Sarker<\/td>\n6:36<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n35<\/td>\nThe Cost<\/td>\nApurba Opu<\/td>\n3:19<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n36<\/td>\nMaati<\/td>\nRiddha Anindya Ganguly<\/td>\n20:36<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n37<\/td>\nA Little, A Lot<\/td>\nShaeem Jahangir<\/td>\n1:41<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n38<\/td>\nTHE BELIEF<\/td>\nTutul Chowdhury<\/td>\n18:50<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n39<\/td>\nCircle of Thoughts<\/td>\nShaeem Jahangir<\/td>\n7:07<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n40<\/td>\nThe Rickshaw Puller<\/td>\nMahfuzz Nazim Mapple<\/td>\n12:18<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n41<\/td>\nKite ’71<\/td>\nYousuf Khan Noor<\/td>\n3:07<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n42<\/td>\nCRISIS<\/td>\nSajjad H Emon<\/td>\n5:37<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n43<\/td>\nThe Soul<\/td>\nSahil Rony<\/td>\n11:04<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n44<\/td>\nVIGIL<\/td>\nSAJJAD H EMON<\/td>\n2:10<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n45<\/td>\nBEHIND THE MASK!<\/td>\n\u00a0pragya ahmed jyoti<\/td>\n6:02<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n46<\/td>\nOnly 5 Steps<\/td>\n\u00a0Pragya Ahmed Jyoti<\/td>\n4:02<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n47<\/td>\nA Broken Toothpick<\/td>\nPRAGYA AHMED JYOTI<\/td>\n1:11<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n48<\/td>\nWomanhood<\/td>\nKhalid Bin Rafiq, Tasmeem Binta Tajul<\/td>\n2:33<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n49<\/td>\nAshlesha<\/td>\nAkib Mahmud<\/td>\n6:32<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n50<\/td>\nLaal Jama- the red frock<\/td>\nMD. Ashiqur Rahman<\/td>\n13:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n51<\/td>\nLitght At The End Of The Tunnel<\/td>\nMahfuza Rashid<\/td>\n4:55<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n52<\/td>\nShare It<\/td>\nApurba Opu<\/td>\n3:17<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n53<\/td>\nEkjon Esshorer Golpo:The Story Of God<\/td>\nLayek Ahmed Pobon<\/td>\n18:20<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n54<\/td>\nThe Cloud<\/td>\nApurba Opu<\/td>\n9:09<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n55<\/td>\nLottery<\/td>\nKm Kanak<\/td>\n9:58<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n56<\/td>\nRat and Police<\/td>\nShaeem Jahangir<\/td>\n19:57<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n57<\/td>\nDarkness Everyday<\/td>\nShaeem Jahangir<\/td>\n3:21<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n58<\/td>\nHuman, But…<\/td>\nMahabubul Antor<\/td>\n3:21<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n59<\/td>\nThe Black Mirror<\/td>\nAhmed Tamim<\/td>\n5:35<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n60<\/td>\nFather<\/td>\nAhmed Tamim<\/td>\n1:29<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n61<\/td>\nManus<\/td>\nMahabubul Antor<\/td>\n2:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n62<\/td>\nMother<\/td>\nAhmed Tamim<\/td>\n2:22<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n63<\/td>\nRefrain<\/td>\nM.A. Basir Akanda<\/td>\n7:23<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n64<\/td>\nAddition minus Subtraction<\/td>\nMd.Shahjahan Shiraj Saju<\/td>\n9:47<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n65<\/td>\nWorld Should Be Hacked<\/td>\nM.A. Basir Akanda<\/td>\n3:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n66<\/td>\nI’M NOT HUNGRY<\/td>\nAriful Islam<\/td>\n6:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n67<\/td>\nProjonmo Brikkho-Story of a Generation<\/td>\nMD Raju Ahme<\/td>\n12:56<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n68<\/td>\nThe Home in Sound<\/td>\nFuaduzzaman Fuad<\/td>\n18:37<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n69<\/td>\nHang In Mind<\/td>\nShihab Uzzaman<\/td>\n15:53<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n70<\/td>\nIF….<\/td>\nRuponti Das<\/td>\n3:12<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n71<\/td>\nMudra<\/td>\nKazi A.R. Shuvo<\/td>\n2:46<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n72<\/td>\nTrikonomiti<\/td>\nKabbo Kabir<\/td>\n8:55<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n73<\/td>\nLIFE or NUMBER?<\/td>\nRuponti Das, Ab-E Zannat<\/td>\n1:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n74<\/td>\nCOVIDOPHOBIA<\/td>\nRuponti Das<\/td>\n1:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n75<\/td>\nTenor<\/td>\nRahi Abdullah<\/td>\n13:18<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n76<\/td>\nNobody’s Responsible<\/td>\nFarhanoor Imtiaz Turjjo<\/td>\n2:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n77<\/td>\n7 Beautiful Hours<\/td>\nMD. Farhanoor Imtiaz Turjjo<\/td>\n20:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n78<\/td>\nMorichika<\/td>\nKazi A. R. Shuvo<\/td>\n10:58<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n79<\/td>\nThe Flowers of Roadside<\/td>\nMahfuzz Nazim Mapple<\/td>\n18:23<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n80<\/td>\nBird of Dusk<\/td>\nAkib Mahmud<\/td>\n6:18<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n81<\/td>\nProjonmmo : The Birth Of A Life<\/td>\nMr. Bizoy Mahmud<\/td>\n7:46<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n82<\/td>\nThe Endless Circle<\/td>\nArunav Das<\/td>\n7:36<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n83<\/td>\nThe Blind<\/td>\nK. A. Rahman Sujan<\/td>\n1:47<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n84<\/td>\n7 Beautiful Hours<\/td>\nFarhanoor Imtiaz Turjjo<\/td>\n19:50<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n85<\/td>\nEkti Cinema Banabo<\/td>\nMujtaba Kabbo<\/td>\n10:11<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n86<\/td>\nThe Religious<\/td>\nRaja Fokir<\/td>\n0:30:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n87<\/td>\nYELLOW PONY<\/td>\nMD. SARWAR JAHAN<\/td>\n7:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n88<\/td>\nMo e mangshopindo<\/td>\nShuvo Talukder<\/td>\n7:44<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n89<\/td>\nBIRD<\/td>\nAshrafia Adib<\/td>\n0:01:24<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n90<\/td>\nThree minutes and 39 second<\/td>\nThanvir hossen khan Jibon<\/td>\n0:03:39<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n91<\/td>\nHalkhata- Cycle of Fatherhood<\/td>\nKhalid Bin Rafiq & Tasmeem Binta Tajul<\/td>\n4:46<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n92<\/td>\nFear<\/td>\nRoman Shuvo<\/td>\n1:47<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n93<\/td>\nJoloGuerrilla ’71 (The Naval Commando ’71)<\/td>\nSumon Delwar<\/td>\n52<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n94<\/td>\nMarkets of Hopes<\/td>\nAnondo Khaled<\/td>\n3:20<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n95<\/td>\nPsychoneurosis<\/td>\nSheikh Abdullah Yeasin<\/td>\n13:08<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n96<\/td>\nBiborno Prohor<\/td>\nSupin Barman<\/td>\n14:23<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n97<\/td>\nShwapno<\/td>\nSheikh Abdullah Yeasin<\/td>\n6:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n98<\/td>\nNazrul<\/td>\nSheikh Abdullah Yeasin<\/td>\n3:06<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n99<\/td>\nAmader Batighor<\/td>\nAnowar Parvez<\/td>\n17:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n100<\/td>\nCounting<\/td>\nMd Rashidul Islam (Rashed Manik)<\/td>\n8.17<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
11<\/td>\nBelarus<\/td>\n1<\/td>\nTOY<\/td>\nRita Shagray<\/td>\n10:50<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nKrasnoludki<\/td>\n\u00a0Roman Burmakov<\/td>\n4:49<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
12<\/td>\nBelgium<\/td>\n1<\/td>\nAILLEURS PARTOUT<\/td>\nIsabelle INGOLD, Vivianne PERELMUTER<\/td>\n1:03:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
13<\/td>\nBenin<\/td>\n1<\/td>\nMark of Love : Celestial Burial 1080p<\/td>\nhermann kayode<\/td>\n11:25<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nSafia<\/td>\nS\u00e8do Tossou<\/td>\n7:28<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
14<\/td>\nBhutan<\/td>\n1<\/td>\nTHIMPHU<\/td>\nCHAND. KR. RAI(RC)<\/td>\n1:58:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
15<\/td>\nBosnia and Herzegovina<\/td>\n1<\/td>\nNatural Selection<\/td>\nAleta Rajic<\/td>\n9:33<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
16<\/td>\nBrazil<\/td>\n1<\/td>\nPunishment (Castigo)<\/td>\nIago Kieling<\/td>\n0:17:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nCrossing \/ Cruce<\/td>\nSander Hahn, D\u00e9cio Gorini<\/td>\n0:20:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nRepublic of Evil Ants<\/td>\nPiero Sbragia<\/td>\n14:56<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nBenjamin Zambraia and the Self Panoptic<\/td>\nFelipe Cataldo<\/td>\n1:11:04<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\n107 (English Subs)<\/td>\nPedro Ladeira<\/td>\n0:13:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n6<\/td>\nMessage from the Stars<\/td>\nAriel Pereira Quintela<\/td>\n0:11:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n7<\/td>\nSobre Nossas Cabe\u00e7as<\/td>\nSusan Kalik, Thiago Gomes<\/td>\n0:15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n8<\/td>\nImages Of a Dream<\/td>\nLeandro Olimpio<\/td>\n0:20:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
17<\/td>\nBulgaria<\/td>\n1<\/td>\n10 minutes of glory<\/td>\nPeter Chiviyski<\/td>\n5:48<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
18<\/td>\nBurkina Faso<\/td>\n1<\/td>\nSan cl\u00e9ment COULIBALY<\/td>\nSan cl\u00e9ment COULIBALY<\/td>\n0:20:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
19<\/td>\nCameroon<\/td>\n1<\/td>\nHIDDEN DREAMS<\/td>\nNGANG ROMANUS<\/td>\n1:36:07<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
20<\/td>\nCanada<\/td>\n1<\/td>\nBoukef med Taher Shawki<\/td>\nAmy Lee<\/td>\n4:24<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nDead.boy.<\/td>\nTracey Cochrane<\/td>\n0:49:13<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nTHE KING FILM SERIES, Ep 6.1 2016<\/td>\nElizabeth A Kennedy<\/td>\n1:28<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nJustice for God<\/td>\nVishnuvandana Kadirimangalam<\/td>\n0:54:34<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
21<\/td>\nChaina<\/td>\n1<\/td>\nBeyblade girl<\/td>\n\u00a0Andong Deng<\/td>\n2:09:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nThe microscopic world of a grain of sand<\/td>\n\u00a0Wu Xianghua<\/td>\n1:59:11<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
22<\/td>\nChile<\/td>\n1<\/td>\nThree Souls<\/td>\nJos\u00e9 Guerrero<\/td>\n1:35:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nBorde Rio<\/td>\nYura Labarca<\/td>\n0:05:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nBreak both Legs!<\/td>\n\u00a0Francisco Coronil<\/td>\n0:08:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nNo place for rest<\/td>\nCristobal Lopez<\/td>\n0:15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nBad Neighbor<\/td>\nRicardo Jara Herrera<\/td>\n1:35:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n6<\/td>\nA SCHOOL CALLED AMERICA<\/td>\nPablo Mardones Charlone, Antonia Mardones Marshall, Maria Paz Espinoza Pe\u00f1a<\/td>\n0:41:41<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n7<\/td>\nBlessing<\/td>\nHerman Choque Rodriguez<\/td>\n20:26<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n8<\/td>\nA.D.A.M.<\/td>\n\u00a0Pablo Roldan<\/td>\n0:17:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
23<\/td>\nColombia<\/td>\n1<\/td>\nSpace Walkers<\/td>\nLes Films Volants<\/td>\n7:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
24<\/td>\nCroatia<\/td>\n1<\/td>\nDecompensation<\/td>\n\u00a0Jasna Safi\u0107<\/td>\n23:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
25<\/td>\nCuba<\/td>\n1<\/td>\nLa pesadilla<\/td>\nDariel Hernnandez Vazquez<\/td>\n\u00a000:05:57<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nDialogo de 2 en 1<\/td>\nJuilo Antonio Martinez-Validivieso<\/td>\n\u00a000:04:07<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nYou Fantasy April<\/td>\n\u00a0Nubelia Leyva Ferrer<\/td>\n\u00a000:04:22<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nCirculos concentricos<\/td>\n\u00a0Nubelia Leyva Ferrer<\/td>\n\u00a000:06:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
26<\/td>\nCyprus<\/td>\n1<\/td>\nTotal Black<\/td>\nConstantinos Kyprianides<\/td>\n19:36<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
27<\/td>\nCzech Republic<\/td>\n1<\/td>\nNightline<\/td>\nRobert Sedlacek<\/td>\n1:34:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
28<\/td>\nDenmark<\/td>\n1<\/td>\nMemories<\/td>\n\u00a0Pezhmann Mokary<\/td>\n6:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nDECOYED<\/td>\n\u00a0Pezhmann Mokary<\/td>\n9:58<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
29<\/td>\nDominican Republic<\/td>\n1<\/td>\nBorn In Dominican Republic<\/td>\n\u00a0Backyard Films<\/td>\n2:21<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nAbout Colonia – Feature<\/td>\n\u00a0Eduardo Shlomo Vel\u00e1zquez<\/td>\n1:00:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
30<\/td>\nDR CONGO<\/td>\n1<\/td>\nA\u2019ANDISA<\/td>\nKEVIN MAYAMBA<\/td>\n0:15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
31<\/td>\nEcuador<\/td>\n1<\/td>\nSan Telmo Tapes (Argentina\/Ecuador, 2020)<\/td>\n\u00a0Leandro Bartoletti<\/td>\n1:12:10<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
32<\/td>\nEgypt<\/td>\n1<\/td>\nRomance de Amour – Soundtrack of the film “Forbidden Games (Jeux interdits)”<\/td>\nEmad Hamdy<\/td>\n2:10<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nBelphegorian<\/td>\nMohamed Serag Eldin<\/td>\n19:11<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nDiary of the empty city<\/td>\nMoataz Alaa<\/td>\n7:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nHome<\/td>\n\u00a0Mahmoud Mahmoud<\/td>\n20:14<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nThe opposite direction<\/td>\nMina Nabil Yousef<\/td>\n13.2<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
33<\/td>\nEl Salvador<\/td>\n1<\/td>\nSigns<\/td>\nAndrea Orellana<\/td>\n4:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
34<\/td>\nEthiopia<\/td>\n1<\/td>\nSuperno<\/td>\nAbel Mekasha<\/td>\n1:30:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
35<\/td>\nFaroe Islands<\/td>\n1<\/td>\nBrother Troll<\/td>\nGudmund Helmsdal<\/td>\n0:29:59<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
36<\/td>\nFinland<\/td>\n1<\/td>\nSeeking New Paths<\/td>\n\u00a0P\u00e4ivi Kapiainen-Heiskanen<\/td>\n0:52:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\na Kolkata ghost story<\/td>\nPetra Lapvetel\u00e4inen<\/td>\n12:46<\/td>\n<\/tr>\n
37<\/td>\nFrance<\/td>\n<\/td>\nFor How Much Longer, Alexandra ?<\/td>\nMALAS TWINS<\/td>\n0:27:26<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n1<\/td>\nO M\u00e0 !<\/td>\nVincent Launay-Franceschini<\/td>\n0:24:16<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nBETE NOIRE<\/td>\nJEREMY TRELLU<\/td>\n0:29:59<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nLA DER DES DER<\/td>\nPatrice Guillain<\/td>\n0:08:18<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nThe Song of the Sea<\/td>\nPierre-Andr\u00e9 Le Leuch<\/td>\n1:15:35<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nAN INDIAN IN PARIS CORONA<\/td>\nRAGHUNATH MANET<\/td>\n0:03:20<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n6<\/td>\n\u201cYoga, the 7th chakra\u201d<\/td>\nRAGHUNATH MANET<\/td>\n15:47<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n7<\/td>\nKARMA<\/td>\nRAGHUNATH MANET \/ ASHOK<\/td>\n0:15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n8<\/td>\nPas d\u00e9sol\u00e9<\/td>\nAl3ph (Julien Peronnet)<\/td>\n0:03:10<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n9<\/td>\nVORTEX the dawn of sovereignty<\/td>\nMichel ROUSSEAU<\/td>\n1:11:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n10<\/td>\nBABY CAGES<\/td>\nMarie B\u00d6RSCH<\/td>\n0:52:29<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
38<\/td>\nGambia<\/td>\n1<\/td>\nInvisible Borders<\/td>\nSamuel Kay Forrest<\/td>\n15:02<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
39<\/td>\nGeorgia<\/td>\n1<\/td>\nGood morning to you! Good night to me\u2026<\/td>\nGiorgi Bartaia, Tamar Bartaia<\/td>\n0:43:27<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nPreparation<\/td>\nIlia Asitashvili<\/td>\n14:59<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
40<\/td>\nGermany<\/td>\n1<\/td>\nHipBeat<\/td>\n\u00a0Samuel Kay Forrest<\/td>\n1:29:35<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nOne Life Of Genghis<\/td>\nBenjamin Tholen<\/td>\n0:22:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nLa Notte Salva<\/td>\nGiuseppe Boccassini<\/td>\n0:12:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nWuqiao Circus<\/td>\nLukas Berger<\/td>\n0:14:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nThe Traveler<\/td>\nMeto Ege<\/td>\n1:10:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n6<\/td>\nZorbas in Verona<\/td>\nDimitris Argyriou, Asteris Koutoulas<\/td>\n0:50:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n7<\/td>\nBOLZMANN<\/td>\nJanis Westphal<\/td>\n0:30:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n8<\/td>\nI Can’t Smell The Soil In My Head<\/td>\nAlkistis Kafetsi<\/td>\n0:06:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n9<\/td>\nDialogue Earth<\/td>\nHank LEVINE<\/td>\n5:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n10<\/td>\nAquaria<\/td>\nJulia Obst<\/td>\n0:04:19<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n11<\/td>\nSilver Hair Still Rocks<\/td>\nAndrea Elisabeth R\u00fcthlein, Matthias Lukoschek<\/td>\n1:35:50<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n12<\/td>\nThe Game Ends<\/td>\nMeto Ege<\/td>\n1:40:58<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
41<\/td>\nGhana<\/td>\n1<\/td>\nTABLE FOR 3<\/td>\nSULAIMON RASAK<\/td>\n1:30:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nKUKESI<\/td>\nLUCKY EVERGREEN ERHAZ<\/td>\n1:40:27<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
42<\/td>\nGreece<\/td>\n1<\/td>\nJust Like Water<\/td>\nManos Triantafillakis<\/td>\n12:54<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nAlexander the Macedonian<\/td>\nTakis Vogopoulos<\/td>\n1:11:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nScore Until The Last Day<\/td>\nAris Tsiaras<\/td>\n1:17:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nDissolved<\/td>\nThodoris Vournas<\/td>\n1:40:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nCorfu, The Island of Pancakes<\/td>\nSpyros Badios<\/td>\n0:54:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n6<\/td>\nExogenesis<\/td>\nAngelina Voskopoulou<\/td>\n0:19:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n7<\/td>\nIfigeneia: no more tears<\/td>\nGeorge Georgakopoulos<\/td>\n0:17:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
43<\/td>\nHonduras<\/td>\n1<\/td>\nCoraz\u00f3n de Caf\u00e9: Las Chumecas<\/td>\n\u00a0Shiao-ya (Maggie) Huang<\/td>\n5:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nBagatelle<\/td>\nL\u00e1szl\u00f3 Cs\u00e1ki<\/td>\n1:50<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
44<\/td>\nHong Kong<\/td>\n1<\/td>\nWe all loved sadness<\/td>\n\u00a0Zhandong MA<\/td>\n5:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nGrand ArtExam<\/td>\nSongqiao ZHAO \uff1bWu Tong<\/td>\n3:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nRiver \u2022 Town<\/td>\nZhandong MA<\/td>\n10:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nInk Spirit<\/td>\nInk Spirit<\/td>\n10<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
45<\/td>\nHungary<\/td>\n1<\/td>\nDoll<\/td>\nAndr\u00e1s Schmidt<\/td>\n18:38<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
46<\/td>\nIceland<\/td>\n1<\/td>\nR\u00e1n directed by Fjolnir Baldursson, Co<\/td>\n\u00a0Baldur Sm\u00e1ri \u00d3lafsson<\/td>\n22:01<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
47<\/td>\nIndia<\/td>\n1<\/td>\nPSYCHE<\/td>\nJERRY JACOB<\/td>\n21:33<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nDURGA<\/td>\nALOK SAHA<\/td>\n22:58<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nThe Maya of Bunnu K. Endo<\/td>\n\u00a0Ramchandra PN<\/td>\n1:39:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nPaati (slate)<\/td>\nShreyash-Naresh<\/td>\n3:17<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nSUDDEN DEATH<\/td>\nRaj Sengupta<\/td>\n8:45<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n6<\/td>\nKHAWLAH<\/td>\nANUJITH KK<\/td>\n18:13<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n7<\/td>\nGood Deed<\/td>\nManish Uppal<\/td>\n6:49<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n8<\/td>\nOkiagari<\/td>\nSamik Roy Choudhury<\/td>\n21:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n9<\/td>\nMei (The Truth)<\/td>\nHarish, Dinesh Kumar, Vignesh Vijithran<\/td>\n1:31:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n10<\/td>\nIdeal village Surya Foundation<\/td>\nDebiprasad pati<\/td>\n7:52<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n11<\/td>\nMARAD<\/td>\nDebiprasad pati<\/td>\n8:25<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n12<\/td>\nAn Open Sky<\/td>\nSurbhi Dewan<\/td>\n14:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n13<\/td>\nFrame Of Mind<\/td>\nBIRINCHI KUMAR GOGOI<\/td>\n6:45<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n14<\/td>\nThat’s Uncle Jerry at the crossing<\/td>\nVishal Gupta<\/td>\n23:24<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n15<\/td>\nDRISTIKON (A girl’s story)<\/td>\nSaikat Talukdar<\/td>\n7:22<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n16<\/td>\nEkti Chheler Somaborton<\/td>\nSaikat Talukdar<\/td>\n20:10<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n17<\/td>\nI Am Proloy<\/td>\nAniket Das<\/td>\n17:15<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n18<\/td>\nKASHMIRI SOFIYANA MUSIC<\/td>\nMUSHTAQ BALA<\/td>\n1:00:15<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n19<\/td>\nBUDSHAH<\/td>\nMUSHTAQ BALA<\/td>\n1:00:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n20<\/td>\nViolence please<\/td>\n\u00a0Karthik selvaraj<\/td>\n11:18<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n21<\/td>\nDAARI YAVUDAYYA VAIKUNTAKE<\/td>\nSIDDU POORNACHANDRA<\/td>\n2:02:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n22<\/td>\nCAPTIVE<\/td>\nDebapriyo Sarmadhikari<\/td>\n4:52<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n23<\/td>\nAvisar (Tryst)<\/td>\nRahul Biswas<\/td>\n21:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n24<\/td>\nA JOURNEY OF EXPLORER<\/td>\nNarendra Singh<\/td>\n19:57<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n25<\/td>\nCOPY AND PASTE<\/td>\nRaj Sengupta<\/td>\n4:16<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n26<\/td>\nPAARHI(VOYAGE OF SURVIVAL)<\/td>\nPIYALI SHOME<\/td>\n0:39:53<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n27<\/td>\nLOCKDOWN<\/td>\nAJOY ROY<\/td>\n0:33:23<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n28<\/td>\nBuddhadev Bose: Puraner Nabarupayan(Reinterpretation of the Epic)<\/td>\nSikta Biswas<\/td>\n0:37:23<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n29<\/td>\nValiyurukki<\/td>\nKumaran Arunagiri<\/td>\n3:01<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n30<\/td>\nRoom 462<\/td>\nAbhishek Bhattacharyya<\/td>\n19:34<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n31<\/td>\nDesibands<\/td>\nSukhwinder Singh<\/td>\n1:35:35<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n32<\/td>\nSELF<\/td>\n\u00a0Jerry Jacob<\/td>\n15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n33<\/td>\nLockdown Script<\/td>\nG.Santanu<\/td>\n11:21<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n34<\/td>\nBE A VOLUNTEER<\/td>\nManish Uppal<\/td>\n4:24<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n35<\/td>\nDADA LAKHMI<\/td>\nyashpal sharma<\/td>\n2:30:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n36<\/td>\nChennai Diaries<\/td>\nHarish<\/td>\n1:43:32<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n37<\/td>\nA research on female progression in India after independance.’<\/td>\nSinjini Chatterjee<\/td>\n0:59:54<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n38<\/td>\nBechari Betiyan<\/td>\nSukhwinder Singh<\/td>\n3:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n39<\/td>\nDREAMTREE<\/td>\nSUBHAS GHOSH , SUBHASISH CHRISTCHE<\/td>\n21:55<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n40<\/td>\nDEBOTAR GRASH<\/td>\nTanu J Chatterjee<\/td>\n0:30:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n41<\/td>\nA Smile Of Gandhi<\/td>\n\u00a0Biju Das<\/td>\n3:46<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n42<\/td>\nNandiya kalan<\/td>\nDebiprasad pati<\/td>\n10:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n43<\/td>\nNEGLECTION<\/td>\nJERRY JACOB<\/td>\n3:55<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n44<\/td>\nMALALA WEEPS CORONA GO<\/td>\nSaleem T Perimbalam<\/td>\n20:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n45<\/td>\nA Tale of Termination<\/td>\n\u00a0Sayantan Bose<\/td>\n2:11:17<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n46<\/td>\nDIALOG<\/td>\nSOUVIK CHAKRABORTY<\/td>\n2:04<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n47<\/td>\nJAI HIND<\/td>\nRajib Banik, \u200cRahul Banik<\/td>\n1:45<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n48<\/td>\nNothing To Say<\/td>\nRahul Banik<\/td>\n2:42<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n49<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nRudhira<\/td>\nMADHU RANGANATH<\/td>\n17:06<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n50<\/td>\nThat’s Uncle Jerry at the crossing<\/td>\nVishal Gupta<\/td>\n23:24<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n51<\/td>\nBechari Betiyan<\/td>\nSukhwinder Singh<\/td>\n3:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n52<\/td>\nThe Tainted Mirror<\/td>\nromi meitei<\/td>\n13:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n53<\/td>\nAn Open Sky<\/td>\nSurbhi Dewan<\/td>\n14:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n54<\/td>\nIdeal village Surya Foundation<\/td>\nDebiprasad pati<\/td>\n7:52<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n55<\/td>\nNermarai (Be Positive)<\/td>\nHarish<\/td>\n4:38<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n56<\/td>\nChennai Diaries<\/td>\nHarish<\/td>\n1:43:32<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n57<\/td>\nAn Indian Girl<\/td>\nSourabh Lakshkar<\/td>\n10:33<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n58<\/td>\nTARA-The Journey of Love & Passion<\/td>\nKumar Raj<\/td>\n1:15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n59<\/td>\nDAARI YAVUDAYYA VAIKUNTAKE<\/td>\nSIDDU POORNACHANDRA<\/td>\n2:02:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n60<\/td>\nOkiagari<\/td>\nSamik Roy Choudhury<\/td>\n21:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n61<\/td>\nThe Threshold<\/td>\nMithun Gomes<\/td>\n11:41<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n62<\/td>\nPUNYATITHI:death anniversary<\/td>\nRajnish BaBa Mehta<\/td>\n0:47:17<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n63<\/td>\nKHAWLAH<\/td>\nANUJITH KK<\/td>\n18:13<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n64<\/td>\nKizhavi<\/td>\nGurumoorthi durai raj<\/td>\n4:27<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n65<\/td>\nLockdown Script<\/td>\nG.Santanu<\/td>\n11:21<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n66<\/td>\nSELF<\/td>\nJerry Jacob<\/td>\n15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n67<\/td>\nMaid It<\/td>\nHarshavardhan Jadhav<\/td>\n3:59<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n68<\/td>\nSoliloquy<\/td>\nJerry jacob<\/td>\n6:46<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n69<\/td>\nDEARTH …life in pandemic<\/td>\nKUMAR KULDIP MEDHI<\/td>\n9:58<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n70<\/td>\nMobile a true story<\/td>\n\u00a0Raj Sengupta<\/td>\n12:47<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n71<\/td>\nSUDDEN DEATH<\/td>\nRaj Sengupta<\/td>\n8:45<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n72<\/td>\nDREAMS ARE IMMORTAL<\/td>\nRaj Sengupta<\/td>\n3:44<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n73<\/td>\nPAAP…THE SIN<\/td>\nRajat tallukdar<\/td>\n8:22<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n74<\/td>\nLOCK DOWN<\/td>\nRAJAT TALLUKDAR<\/td>\n14:25<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n75<\/td>\nBOON (SILENT FILM)<\/td>\nRAJAT TALUKDAR<\/td>\n4:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n76<\/td>\nINSANE<\/td>\nSNEHA KARAR & SOURANIL SINGHA<\/td>\n15:07<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n77<\/td>\nABHILASH<\/td>\nkrushna ch sahu<\/td>\n4:03<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n78<\/td>\nParda<\/td>\nDeepa Kumari<\/td>\n16:17<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n79<\/td>\nKUKLI<\/td>\nSHYAMA SUNDAR MAJHI<\/td>\n0:24:52<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n80<\/td>\nIdhu Mudivu Alla<\/td>\nLalitkumar Iyer<\/td>\n5:35<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n81<\/td>\nShil Pi (the art we love, the path we hate)<\/td>\nAngshuman Saikia<\/td>\n7:39<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n82<\/td>\nFAR-SIGHTED…<\/td>\nBABITA SARMA<\/td>\n14:39<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n83<\/td>\nPaati (slate)<\/td>\nShreyash-Naresh<\/td>\n3:17<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n84<\/td>\nThe Maya of Bunnu K. Endo<\/td>\nRamchandra PN<\/td>\n1:39:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n85<\/td>\nTrapped<\/td>\nNishith sahasransu Ray<\/td>\n2:39<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n86<\/td>\nLast Drop short film<\/td>\nNishith sahasransu Ray<\/td>\n1:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n87<\/td>\nMane (The Home)<\/td>\nRashmi S, Poorna Shri R<\/td>\n2:03:49<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n88<\/td>\nThoibi<\/td>\nRakesh Moirangthem<\/td>\n8:02<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n89<\/td>\n“PANTHOUGI LIKLAM” ( footprints of the father )<\/td>\nRakesh Moirangthem<\/td>\n6:56<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n90<\/td>\nMochhob<\/td>\nSoumya Suvra Das<\/td>\n0:30:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n91<\/td>\nPANDEMIC<\/td>\nSURAJ VILAS DALVI<\/td>\n6:16<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n92<\/td>\nDon andyachi gosht ( A story of Two eggs )<\/td>\nSuraj Vilas Dalvi<\/td>\n0:40:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n93<\/td>\nYakshi<\/td>\nBrijesh Prathap<\/td>\n9:57<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n94<\/td>\nAbandonment<\/td>\nSagnik Dutta Gupta<\/td>\n15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n95<\/td>\nNAME YOU<\/td>\n\u00a0Jerry Jacob<\/td>\n0:53:43<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n96<\/td>\nAnubhobe (Scattered Thoughts)<\/td>\nPrajna Dutta<\/td>\n0:29:29<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n97<\/td>\nThe Iron Lady of Kashmir<\/td>\nSuresh K Goswami<\/td>\n1:01:25<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n98<\/td>\nONNUMARIYATHE [UNKNOWINGLY]<\/td>\nSAJEEV VYASA<\/td>\n1:54:55<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n99<\/td>\nKizhavi<\/td>\nGurumoorthi durairaj<\/td>\n4:07<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n100<\/td>\nETHIRPATH<\/td>\nNOUFAL CHERAYI<\/td>\n0:29:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n101<\/td>\nKARPOORA BOMMAI<\/td>\nVignesh Raj Murugan<\/td>\n13<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n102<\/td>\nA JOURNEY OF EXPLORER<\/td>\nNARENDRA SINGH<\/td>\n20<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n103<\/td>\nJAI HIND<\/td>\nRajib Banik & Rahul Banik<\/td>\n1:45<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n104<\/td>\nANIKA<\/td>\nkrishna dk<\/td>\n1:42<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n105<\/td>\nDeshbhakt ( A Patriot )<\/td>\nUtkarsh Chaturvedi<\/td>\n3:41<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n106<\/td>\nNothing To Say<\/td>\nRahul Banik<\/td>\n2:42<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n107<\/td>\nBartamne Atit<\/td>\nPritam Chakraborty<\/td>\n0:16<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n108<\/td>\nJOBAB ER PROTIKHAY (ANSWERS AWAITED)<\/td>\nMadhutamo Sen<\/td>\n6:27<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n109<\/td>\nMASK DAY<\/td>\nSATYAJIT PRAMANIK<\/td>\n8:58<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n110<\/td>\nMathipirkuriya Ethiri<\/td>\nKarthik selvaraj<\/td>\n10:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n111<\/td>\nAvisar<\/td>\nRahul Biswas<\/td>\n21:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n112<\/td>\n21 ar Purondor<\/td>\nRajib Banik<\/td>\n0:26:32<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n113<\/td>\nVuja de<\/td>\nJoby Varghese<\/td>\n17:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n114<\/td>\nHome.MOV<\/td>\nDebjit Bagchi<\/td>\n2:25<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n115<\/td>\nSohorer Upokotha<\/td>\nBappa<\/td>\n1:39<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n116<\/td>\nThe Letter<\/td>\nAarsha Mukherji<\/td>\n1:19<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n117<\/td>\nThe Little Riddle<\/td>\nAnoop Oommen<\/td>\n14:56<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n118<\/td>\nRJ NEELAM O RABINDRANATH TAGORE<\/td>\nSOUVIK MAJUMDER<\/td>\n14:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n119<\/td>\nKabadiwala<\/td>\nRohit Prasad<\/td>\n7:56<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n120<\/td>\n“PICHKI (SPITTLE)”<\/td>\nDebapriyo Sarmadhikari<\/td>\n11:28<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n121<\/td>\nRinging<\/td>\nSayan Saha<\/td>\n3:28<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n122<\/td>\nJUST OPPOSITE<\/td>\nTALAT UMRI<\/td>\n20:51<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n123<\/td>\nAATURADA NIRDHARA<\/td>\nT.OBALESHA KYASANAKERE<\/td>\n20:50<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n124<\/td>\nBHUMCHU -The Drops Of Eternal Life<\/td>\nABANTI SINHA<\/td>\n0:40:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n125<\/td>\nFIRE OF TEAK FLAME OF CHINAR<\/td>\nKUMAR CHOWDHURY<\/td>\n2:01:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n126<\/td>\nORA: Daughters on rent<\/td>\nOLIVIA DAS<\/td>\n0:25:27<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n127<\/td>\nAmaro porano jaha chay.<\/td>\nDurlav Das<\/td>\n4:57<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n128<\/td>\nSULLEN SILENCE<\/td>\nAbhimanyu Chatterjee<\/td>\n9:55<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n129<\/td>\nSoham<\/td>\nHarish Kumar<\/td>\n1:59:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n130<\/td>\nManab Manabi<\/td>\nSubrata Sen<\/td>\n1:57:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n131<\/td>\nR for Roshan’s Childhood<\/td>\nRamchandra PN<\/td>\n1:17:09<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n132<\/td>\nPUGLYA<\/td>\nVINOD SAM PETER<\/td>\n1:47:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n133<\/td>\nPother Pachaly<\/td>\nSaytyajit Ray<\/td>\nTribute<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n134<\/td>\nOporajita<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n135<\/td>\nParash Pathar<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n136<\/td>\nThe Music Room<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n137<\/td>\nThe World of Apu<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n138<\/td>\nThe Goddess<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n139<\/td>\nThree Daughters \/ Two Daughters<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n140<\/td>\nRabindranath Tagore<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n141<\/td>\nKanchanjangha<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n142<\/td>\nThe Expedition<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n143<\/td>\nThe Big City<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n144<\/td>\nThe Lonely Wife<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n145<\/td>\nTwo<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n146<\/td>\nThe Coward (The Holy Man)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n147<\/td>\nThe Hero<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n148<\/td>\nThe Zoo<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n149<\/td>\nThe Adventures of Goopy and Bagha<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n150<\/td>\nDays and Nights in the Forest<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n151<\/td>\nThe Adversary<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n152<\/td>\nA Company Limited<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n153<\/td>\nSikkim<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n154<\/td>\nThe Inner Eye<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n155<\/td>\nThe Distant Thunder<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n156<\/td>\nThe Fortress<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n157<\/td>\nThe Middleman<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n158<\/td>\nBala<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n159<\/td>\nThe Chess Players<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n160<\/td>\nThe Elephant God<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n161<\/td>\nThe Kingdom of Diamonds<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n162<\/td>\nPikoo’s Day<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n163<\/td>\nThe Deliverance<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n164<\/td>\nThe Home and The World<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n165<\/td>\nSukumar Ray<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n166<\/td>\nAn Enemy of the People<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n167<\/td>\nThe Branches of the Tree<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n168<\/td>\nThe Stranger<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
48<\/td>\nIndonesia<\/td>\n1<\/td>\nThe Silent Mob<\/td>\nHarvan Agustriansyah<\/td>\n16:33<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nSugar on The Weaver\u2019s Chair<\/td>\nHarvan Agustriansyah<\/td>\n1:00:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
49<\/td>\nIran<\/td>\n1<\/td>\nDancing With Rainbow<\/td>\nHassan Mokhtari<\/td>\n0:06:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nPeyman<\/td>\nBahador<\/td>\n0:13:13<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nThe Silent Cry<\/td>\nHassan Mokhtari<\/td>\n0:01:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nAfter The Incident<\/td>\nPouria Heidary Oureh<\/td>\n1:15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nIran; Second Day<\/td>\n\u00a0Kiana Montajabi<\/td>\n14:59<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n6<\/td>\nNot Winter<\/td>\n\u00a0Hassan Mokhtari<\/td>\n0:02:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n7<\/td>\nPortrait<\/td>\nMani Moghadam<\/td>\n0:12:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n8<\/td>\nRebel Hall<\/td>\nHassan Mokhtari<\/td>\n0:01:22<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n9<\/td>\nThe Scent Of Night<\/td>\nHassan Mokhtari<\/td>\n0:07:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n10<\/td>\nPast Continuous<\/td>\nHassan Mokhtari<\/td>\n0:05:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n11<\/td>\nmy moon<\/td>\naliakbar khodashens<\/td>\n0:02:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
50<\/td>\nIraq<\/td>\n1<\/td>\nTHE CROWS LAND<\/td>\nMohammad<\/td>\n7:18<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
51<\/td>\nIreland<\/td>\n1<\/td>\nFALL OF THE IBIS KING<\/td>\n\u00a0Mikai Geronimo, Josh O’Caoimh<\/td>\n9:42<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nHear Hear<\/td>\n\u00a0Emmet O’Brien<\/td>\n5:13<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
52<\/td>\nIsle of Man<\/td>\n1<\/td>\nIsle of Man<\/td>\n\u00a0Vladimir Polishuk<\/td>\n1:30:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
53<\/td>\nIsrael<\/td>\n1<\/td>\nThe Ashram Children: I am No Body, I Have No Body<\/td>\nJonathan Ofek<\/td>\n1:07:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
54<\/td>\nItaly<\/td>\n1<\/td>\n13 Scatti<\/td>\nLeonardo Barone<\/td>\n19:26<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nLa fortuna non esiste – La storia del Bomber di Dio<\/td>\nStefano Tammaro, Edoardo Bellino<\/td>\n0:54:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nLaura’s Hereafter (Il domani di Laura, sub eng)<\/td>\nCostantino Maiani<\/td>\n1:21:56<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nA Burst of Song<\/td>\n\u00a0Lia Beltrami<\/td>\n30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nTell Me Who I Am<\/td>\n\u00a0Luca Caserta<\/td>\n17:14<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n6<\/td>\nIL RIMEDIO<\/td>\nNick Rooney<\/td>\n13:22<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n7<\/td>\n\u00c8 solo un gioco (It’s only a game)<\/td>\nLeonardo Barone<\/td>\n18:12<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n8<\/td>\nLe Noir Vivant<\/td>\nVittorio Adinolfi, Umberto Santacroce, Carmine Freeman (Coins Cousins)<\/td>\n19:33<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
55<\/td>\nJamaica<\/td>\n1<\/td>\nBorn in Jamaica<\/td>\n\u00a0Backyard Films<\/td>\n2:20<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
56<\/td>\nJapan<\/td>\n1<\/td>\nCanaria<\/td>\n\u00a0Kazuki Yuhara<\/td>\n4:18<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nLike and Follow<\/td>\n\u00a0directed by Forrest Schlage<\/td>\n2<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nTalking to the Starry Sky<\/td>\nYurugu Matsumoto<\/td>\n1:55:20<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nComing Back Sunny<\/td>\nNoriko Yuasa<\/td>\n15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nPALETTE<\/td>\nYurugu Matsumoto<\/td>\n21:58<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
57<\/td>\nKazakhstan<\/td>\n1<\/td>\nOT<\/td>\nAizhan Kassymbek<\/td>\n1:22:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nEscape<\/td>\nDarina Manapova<\/td>\n0:24:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nNazima<\/td>\nBerik Zhakhanov<\/td>\n20:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nMoon hares<\/td>\nKristina Mikhailova<\/td>\n0:25:18<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
58<\/td>\nKenya<\/td>\n1<\/td>\nMy Friend Ngigi<\/td>\nNICK NJACHE, LWAL GRIFFIN<\/td>\n12:48<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
59<\/td>\nNorth Korea<\/td>\n1<\/td>\nPair of Thieves<\/td>\n\u00a0Kim Bo Hyun<\/td>\n23:15<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
60<\/td>\nSouth Korea<\/td>\n1<\/td>\nThe Industrial and the Green<\/td>\nFinn Harvor<\/td>\n0:54:51<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nFrom Korea to Canada and back again: Sound vs. Noise<\/td>\nFinn Harvor<\/td>\n17:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nYes, Planet, We\u2019re Warming (Longer)<\/td>\nFinn Harvor<\/td>\n7:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nLand of My Father<\/td>\nMatthew Koshmrl<\/td>\n1:15:46<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
61<\/td>\nKosovo<\/td>\n1<\/td>\nSurvival and school<\/td>\n\u00a0Ilir Kabashi<\/td>\n19:25<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
62<\/td>\nKuwait<\/td>\n1<\/td>\nWhite Dove<\/td>\n\u00a0Arun Nalan Nair<\/td>\n7:11<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
63<\/td>\nKyrgyzstan<\/td>\n1<\/td>\nThe Road to Eden<\/td>\nBakyt Mukul, Dastan Zhapar Uulu<\/td>\n2:00:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
64<\/td>\nLatvia<\/td>\n1<\/td>\nNot Alive Yet<\/td>\n\u00a0Liene Rubane<\/td>\n5:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nLatvian Coyote<\/td>\nIvars Zviedris<\/td>\n1:10:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
65<\/td>\nLebanon<\/td>\n1<\/td>\nThe Hurl<\/td>\nSamir Kawas<\/td>\n5:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nJabbara<\/td>\nSamir Kawas<\/td>\n13:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
66<\/td>\nLithuania<\/td>\n1<\/td>\nWater and Light<\/td>\nVigmantas Balevi\u010dius<\/td>\n2:15<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
67<\/td>\nLuxembourg<\/td>\n1<\/td>\nFaleminderit<\/td>\nNicolas Neuhold<\/td>\n13:22<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
68<\/td>\nMacao<\/td>\n1<\/td>\nFlamingo<\/td>\nKawo a.k.a. Sushijojo<\/td>\n8:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
69<\/td>\nMacedonia, the former Yugoslav Republic of<\/td>\n1<\/td>\nTwisted<\/td>\n\u00a0Batuhan Ibrahim<\/td>\n17:50<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
70<\/td>\nMalawi<\/td>\n1<\/td>\nTHE YEAR OF OUR LORD<\/td>\nImran Shaban<\/td>\n1:46:20<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
71<\/td>\nMalaysia<\/td>\n1<\/td>\nmadamaikku anjel (Don’t be afraid of stupidity)<\/td>\nBalamurugan<\/td>\n20:25<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
72<\/td>\nMalta<\/td>\n1<\/td>\n5AM<\/td>\n\u00a0Sean James Sutton<\/td>\n3:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
73<\/td>\nMartinique<\/td>\n1<\/td>\nReflexion<\/td>\nAlan Bidard<\/td>\n5:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
74<\/td>\nMauritania<\/td>\n1<\/td>\nIt’s Not Over Yet<\/td>\n\u00a0Mai Mustafa Ekhou<\/td>\n6:58<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
75<\/td>\nMexico<\/td>\n1<\/td>\nErrant Stars<\/td>\nLuis Mariano Bouchot<\/td>\n13:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nTHE DIRECTOR, Oedipus’ seven mothers<\/td>\nCarlos Reyes, Le\u00f3n Alvarado<\/td>\n1:40:35<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
76<\/td>\nMontenegro<\/td>\n1<\/td>\nRainbow<\/td>\n\u00a0Aleksanar Vujovic<\/td>\n16:55<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
77<\/td>\nMorocco<\/td>\n1<\/td>\nNAIL<\/td>\nLAHOUCINE BOUSSABER<\/td>\n2:20<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nThe Death<\/td>\nMohamed Amalaab<\/td>\n3<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nTowards the Unknown<\/td>\nNaime Blal Touil<\/td>\n8:52<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nCRACK<\/td>\nNaime Blal Touil<\/td>\n7:11<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nTHE\u00a0LAST\u00a0DINNER<\/td>\nMOHAMED GOUMANE<\/td>\n0:01:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n6<\/td>\nFetus<\/td>\nMOHAMED GOUMANE<\/td>\n12:35<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
78<\/td>\nMyanmar<\/td>\n1<\/td>\nThe Purple Thanaka of the Angels<\/td>\n\u00a0Borit Yannick<\/td>\n55.02<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nhe Ancestors’ Memories<\/td>\nArata Shigeno<\/td>\n23:53<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
79<\/td>\nNamibia<\/td>\n<\/td>\nSacred Places<\/td>\nLloyd Winini<\/td>\n19:43<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
80<\/td>\nNepal<\/td>\n1<\/td>\nSamshaya<\/td>\nGanesh Rawal<\/td>\n22:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nJOGI ‘The God of Night’<\/td>\nDaya Ram Ghimire<\/td>\n0:26:47<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nSIYA<\/td>\nMira Gurung<\/td>\n13:35<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
81<\/td>\nNetherlands<\/td>\n1<\/td>\nBrother<\/td>\n\u00a0Lisanne Sweere<\/td>\n0:27:52<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\n11<\/td>\n\u00a0Janusz Madej<\/td>\n1:23:22<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nBLUE GLASS<\/td>\nJanusz Madej<\/td>\n15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
82<\/td>\nNigeria<\/td>\n1<\/td>\nRobolution<\/td>\n\u00a0Ekemini Ubong Sunday<\/td>\n5:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
83<\/td>\nNorth Macedonia<\/td>\n1<\/td>\nI Don’t Belong Here<\/td>\nMartin Chichovski<\/td>\n0:24:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
84<\/td>\nNorway<\/td>\n1<\/td>\nThe Running Show<\/td>\n\u00a0Casper Schack<\/td>\n0:26:15<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nForever<\/td>\nPierre Kornev<\/td>\n9:32<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
85<\/td>\nOman<\/td>\n1<\/td>\nPanacea<\/td>\nJERRY JACOB<\/td>\n4:59<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nEpistrophe<\/td>\n\u00a0JERRY JACOB<\/td>\n0:02:20<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nINCLINATION<\/td>\n\u00a0JERRY JACOB<\/td>\n4:33<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
86<\/td>\nPakistan<\/td>\n1<\/td>\nDNC<\/td>\nRaja Saad<\/td>\n17:28<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
87<\/td>\nPanama<\/td>\n1<\/td>\nHUESOS<\/td>\nRoberto Villafane<\/td>\n7:14<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
88<\/td>\nParaguay<\/td>\n1<\/td>\nMap to the stars<\/td>\nPedro Jaen R.<\/td>\n10:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
89<\/td>\nPeru<\/td>\n1<\/td>\nm\u00e1i – land<\/td>\nRachel Ghiles, Sandra Shica, Gia Stolz, Paloma Roca, Cristoper Geiser, Ver\u00f3nica Raquel, Samuel R\u00edos, Marcio P\u00e9rez, \u00c1ngel Soria, Manuel, Saavedra, William Aylas, Pablo Salas, Cristofer Dj<\/td>\n10:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nSonata For A Calendar<\/td>\nCarmen Rosa Vargas<\/td>\n18:39<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nStarched Collars<\/td>\nDANIEL RODR\u00cdGUEZ RISCO<\/td>\n12:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nEl cafe no se acaba<\/td>\nH\u00e9ctor marreros<\/td>\n0:13:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
90<\/td>\nPhilippines<\/td>\n1<\/td>\nUnique<\/td>\nRey Coloma<\/td>\n0:04:47<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nBoat ( Lampitao )<\/td>\nRey Coloma<\/td>\n11:14<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nProgress<\/td>\nNoriel Morales Jarito<\/td>\n19:51<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nMichael and Carmila<\/td>\nNoriel Morales Jarito<\/td>\n3:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nRated SPG<\/td>\nStephanie Mayo<\/td>\n4:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n6<\/td>\nThe Glance<\/td>\nGeraldo Jumawan\/ Sherwin Compendio<\/td>\n14:19<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n7<\/td>\n“MANDARAGAT”<\/td>\nRoderick Orta\u00f1eza Alo<\/td>\n0:24:49<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n8<\/td>\n“PALIMOS” (ALMS)<\/td>\nRoderick Alo<\/td>\n5:01<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n9<\/td>\n1820<\/td>\nGilbert Belleza<\/td>\n0:30:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n10<\/td>\nFarm<\/td>\nRey Coloma<\/td>\n7:38<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n11<\/td>\nTransfer<\/td>\nRey Coloma<\/td>\n9:59<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n12<\/td>\nThe Receptionist and The Housekeeper<\/td>\nNoriel Morales Jarito<\/td>\n6:39<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n13<\/td>\nThe Hitman – Mission: Kill The President<\/td>\nNoriel Morales Jarito<\/td>\n8:32<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n14<\/td>\nPungko: The Art Of Doing Nothing<\/td>\nNoriel Morales Jarito<\/td>\n12:50<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n15<\/td>\nMy Aunt’s Firewood<\/td>\nNoriel Morales Jarito<\/td>\n1:00:12<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n16<\/td>\nHulagway (The Picture)<\/td>\n\u00a0Engelbert Paculanang<\/td>\n19:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n17<\/td>\nUnfaithful Love<\/td>\nGERALDO B. JUMAWAN<\/td>\n4:50<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n18<\/td>\nShredded Pages<\/td>\n\u00a0John Raynel Morales<\/td>\n4:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n19<\/td>\nBERANI<\/td>\nJENNY ESCALANTE<\/td>\n9:57<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n20<\/td>\nTAOid: The Faces of Solsona<\/td>\nBeia Garnette Coste<\/td>\n2:52<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n21<\/td>\nThe Receptionist: Caridad Cerbito Morales<\/td>\nNoriel Morales Jarito<\/td>\n23:55<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n22<\/td>\nMIB: Mom Is Buried<\/td>\nNoriel Morales Jarito<\/td>\n0:38:31<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n23<\/td>\nFilius (Son)<\/td>\njustin allen caspulso<\/td>\n5:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n24<\/td>\nTO BE FREE (ALPAS)<\/td>\nShaznei Gonzales<\/td>\n9:35<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n25<\/td>\nHey, Teacher ,Wake up!<\/td>\nRey Coloma<\/td>\n4:32<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n26<\/td>\nFace Shield<\/td>\nNoriel Morales Jarito<\/td>\n14:52<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n27<\/td>\nFatima<\/td>\nNoriel Morales Jarito<\/td>\n9:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n28<\/td>\nYUGTO (Chapter)<\/td>\nRoderick Alo\/ Geraldo Jumawan<\/td>\n7:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n29<\/td>\nSayaw Tayo, ‘Tay<\/td>\nRhon rodriguez<\/td>\n10:01<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n30<\/td>\nCyKiel<\/td>\nRay Mayher Maturan<\/td>\n5:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n31<\/td>\nNothing Beats Oldies<\/td>\nClarklouis Sanchez<\/td>\n13:27<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n32<\/td>\nRUN AGAINST POLLUTION<\/td>\nGREG GREGORIO<\/td>\n18:02<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n33<\/td>\nHuramentado: Kill The President<\/td>\nNoriel Morales Jarito<\/td>\n1:25:18<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n34<\/td>\nMy Aunt’s Bathing Water<\/td>\n\u00a0Noriel Morales Jarito<\/td>\n18:59<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n35<\/td>\nThe Boss, The Bodyguard and The Bum<\/td>\nNoriel Morales Jarito<\/td>\n6:43<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n36<\/td>\nMama Lourdes<\/td>\nErnani Antonio<\/td>\n15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n37<\/td>\nHele (Lullabye)<\/td>\nGeraldo Jumawan<\/td>\n15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n38<\/td>\nDear Mama<\/td>\nGERALDO B. JUMAWAN \/JEAN M. VILLAME<\/td>\n20:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n39<\/td>\nThe Herald and The Horror<\/td>\n\u00a0Jayvee Margaja<\/td>\n1:30:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n40<\/td>\nPas-an<\/td>\nGeraldo Jumawan\/ Sherwin Compendio<\/td>\n14:58<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
91<\/td>\nPoland<\/td>\n1<\/td>\nRUST<\/td>\nRafal Malecki<\/td>\n0:29:59<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
92<\/td>\nPortugal<\/td>\n1<\/td>\nQuatro Esta\u00e7\u00f5es<\/td>\nCarlos Coelho Costa<\/td>\n5:31<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nA Parede<\/td>\n\u00a0carlos costa<\/td>\n1:29:19<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nTales of India<\/td>\nCarlos Coelho Costa<\/td>\n4:13<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nFuck Haneke: Um filme de Jo\u00e3o Canuto<\/td>\nJo\u00e3o Canuto<\/td>\n1:22:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nLaPalissada<\/td>\nJo\u00e3o Canuto Ribeiro<\/td>\n13:55<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n6<\/td>\nPain: Stories of fibromyalgia<\/td>\nJo\u00e3o Ribeiro, Mauro Soares, D\u00e9bora Andrade, Sim\u00e3o Pereira, Diogo Rom\u00e3o, Alicia Chinita, Leonardo Silva<\/td>\n30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n7<\/td>\nThe boy and the owl<\/td>\nM\u00e1rio Gajo de Carvalho<\/td>\n12<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
93<\/td>\nPuerto Rico<\/td>\n1<\/td>\nHarvey’s Delirium<\/td>\nAnthony Ortiz Gutierrez<\/td>\n8:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
94<\/td>\nQatar<\/td>\n1<\/td>\nI AM NOT MY FATHER<\/td>\n\u00a0Naif Al-Malki<\/td>\n13:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
95<\/td>\nRomania<\/td>\n1<\/td>\nTHANK YOU FOR YOUR TEETH!<\/td>\nGeorge ve G\u00e4n\u00e6aard, Horia Cucut\u0103<\/td>\n2:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
96<\/td>\nRussian Federation<\/td>\n1<\/td>\nMen Don\u2019t Cry<\/td>\nGalina Maslennikova<\/td>\n10:31<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nFrom Khovrino<\/td>\nDaria Elena Dashunina<\/td>\n7:41<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nEcoLogicno<\/td>\nAlfiya Shakirzyanova<\/td>\n16:43<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nAstronaut’s Uniform<\/td>\nDmitri Frolov<\/td>\n0:29:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nTutor<\/td>\n\u00a0Andrey Zolotarev<\/td>\n20:47<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
97<\/td>\nSerbia<\/td>\n1<\/td>\nUntold<\/td>\nNikola Gocic<\/td>\n5:11<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nPenitent in Attempt<\/td>\nZikica Jovanovic<\/td>\n13:30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
98<\/td>\nSlovakia<\/td>\n1<\/td>\nOnly human<\/td>\n\u00a0Lukas Vizner<\/td>\n0:28:06<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
99<\/td>\nSlovenia<\/td>\n1<\/td>\nI live<\/td>\nRok Mati\u0107<\/td>\n1:17:28<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
100<\/td>\nSouth Africa<\/td>\n1<\/td>\nCleanse<\/td>\nPatrick T Peni<\/td>\n10:27<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
101<\/td>\nSpain<\/td>\n1<\/td>\nThe nights we looked at the sky<\/td>\nDavid Gamboa Ortuzar<\/td>\n1:35:50<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nEye to Eye<\/td>\nfina sensada<\/td>\n0:30:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nLA INVISIBLE<\/td>\nMaria Giselle Royo<\/td>\n0:38:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nAfrodita<\/td>\nRoberto Roquer<\/td>\n1:14:10<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nNISE, A journey in the negation of love<\/td>\nMaria Gis\u00e8le Royo<\/td>\n0:41:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n6<\/td>\nScore Until The Last Day<\/td>\nAris Tsiaras<\/td>\n1:17:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
102<\/td>\nSri Lanka<\/td>\n1<\/td>\nDark days of heaven<\/td>\nMathi sutha<\/td>\n1:18:11<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nMutton<\/td>\nHasantha Prabhoothi Dissanayake<\/td>\n0:12:25<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
103<\/td>\nSwitzerland<\/td>\n1<\/td>\nReturn to the lost eden<\/td>\nAdriano Zecca<\/td>\n0:55:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
104<\/td>\nSyrian Arab Republic<\/td>\n1<\/td>\nAn Ordinary Day<\/td>\nAnas Zawahri<\/td>\n18:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nMy body and Me<\/td>\nHoussam Jlelati<\/td>\n3:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nOne of us left the photo<\/td>\n\u00a0Malas twins<\/td>\n15:54<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nAsylum Ticket<\/td>\nShammiah Muhammad<\/td>\n0:35:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
105<\/td>\nTaiwan<\/td>\n1<\/td>\nPhil’s Journey<\/td>\nYeong R. Chen<\/td>\n1:30:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\n2021 Taijiang God Welcoming Festival \u2162<\/td>\nChia Huai LEE<\/td>\n0:29:57<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nReborn Debris<\/td>\nChia Huai LEE<\/td>\n1:01:15<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
106<\/td>\nTajikistan<\/td>\n1<\/td>\nAgainst all odds<\/td>\nTakhmina Khakimova<\/td>\n0:17:14<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
107<\/td>\nThailand<\/td>\n1<\/td>\nIn the Moments of Great Sorrow<\/td>\nPawat Kantawirud<\/td>\n19:54<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
108<\/td>\nTogo<\/td>\n1<\/td>\nCoronapocalypse<\/td>\nAbdoul-Ganiou Dermani<\/td>\n5<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nRebelle<\/td>\nMos Jc Ekoue<\/td>\n20<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nJOINING EUROPE DYING AT SEA<\/td>\nTessilim ADJAYI<\/td>\n26<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
109<\/td>\nTrinidad and Tobago<\/td>\n1<\/td>\nJump!<\/td>\nShari Petti<\/td>\n1:07:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
110<\/td>\nTunisia<\/td>\n1<\/td>\nHalf a Film<\/td>\nSaif Hasnaoui<\/td>\n0:29:42<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nLet Me Live<\/td>\nWissem Dallali<\/td>\n0:15:12<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
111<\/td>\nTurkey<\/td>\n1<\/td>\nTHE CORE<\/td>\nMERVE KU\u015e MATARACI<\/td>\n15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nAUTUMN<\/td>\nCaner Kald\u0131<\/td>\n19:58<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nPoppy Red (with subtitle)<\/td>\n\u00d6zlem \u00d6zel<\/td>\n1:40:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nPortrait of Porcupines<\/td>\nMerve KU\u015e MATARACI<\/td>\n8:15<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nIn Between<\/td>\nKadir Eman<\/td>\n11<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
112<\/td>\nUganda<\/td>\n1<\/td>\nThe Right Path<\/td>\nMukisa Prosie kenisha<\/td>\n1:00:48<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nJust a Day<\/td>\n\u00a0Sarah Namiyonga<\/td>\n5:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
113<\/td>\nUkraine<\/td>\n1<\/td>\nFirst day of a chick<\/td>\nAnastasia Shinkarenko<\/td>\n1:45<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nWorried about the matches?<\/td>\nAngelina Turska<\/td>\n15:25<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
114<\/td>\nUnited Arab Emirates<\/td>\n1<\/td>\nEternity<\/td>\nSwapnil S. Rajpurkar<\/td>\n11:21<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\n17:14<\/td>\nGilbert Belleza<\/td>\n10<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
115<\/td>\nUnited Kingdom<\/td>\n1<\/td>\nThe Doxey Boggart<\/td>\nJonathon Watkiss<\/td>\n1:18:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
116<\/td>\nUnited States of America<\/td>\n1<\/td>\nThe Icing<\/td>\nDerek J Braasch<\/td>\n1:51:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nLeo<\/td>\nTreal Walker<\/td>\n1:22:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nThe birds<\/td>\nGiorgi Tkemaladze<\/td>\n12:40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nMutilation Massacre<\/td>\nDerek J Braasch<\/td>\n19:56<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n5<\/td>\nKillerKravings<\/td>\n\u00a0Eric Bendross<\/td>\n3:11<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n6<\/td>\nMurder For Pleasure<\/td>\n\u00a0Derek Braasch<\/td>\n1:37:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n7<\/td>\nLove Conquers<\/td>\nEric Bendross<\/td>\n6:33<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n8<\/td>\nKARMA the Movie<\/td>\n\u00a0Ricardo Catalan Jr<\/td>\n1:34:11<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n9<\/td>\nPuso Ng Pinoy Bboy<\/td>\nclifton abuan<\/td>\n60..00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n10<\/td>\n“Four Motherless Children”<\/td>\nRalph Isenberg<\/td>\n49.34<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n11<\/td>\nWherever We May Be<\/td>\nAdrian Ellis Alarilla, Jed Yabut, Joseph Unsay, Kenneth Cardenas, Pat R., Pauline M., Zo\u00e9 Ciela Guenne<\/td>\n1:19:22<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n12<\/td>\nThe Wonder Girl<\/td>\n\u00a0Vinay Pujara<\/td>\n9:55<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n13<\/td>\nGuardian Angel<\/td>\nDerek Braasch<\/td>\n21:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n14<\/td>\nThe Clown Dies at Midnight<\/td>\nDerek J Braasch<\/td>\n13:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n15<\/td>\nMENTIS<\/td>\nDerek J Braasch<\/td>\n18:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n16<\/td>\nBreak in<\/td>\nLAHOUCINE BOUSSABER, Marcia Alessandra cervantes<\/td>\n10:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n17<\/td>\nSupper Club<\/td>\nMatthew Koshmrl<\/td>\n14:19<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n18<\/td>\nWind Spirits<\/td>\nShelby F. Elwood<\/td>\n13:46<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n19<\/td>\nThe Wonder Girl<\/td>\n\u00a0Vinay Pujara<\/td>\n9:55<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n20<\/td>\nBorn In Bangladesh<\/td>\nBackyard Films<\/td>\n\u00a02:20<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n21<\/td>\nRomance<\/td>\nGiorgi Tkemaladze<\/td>\n11:57<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
117<\/td>\nUzbekistan<\/td>\n1<\/td>\nWorm<\/td>\n\u00a0Samugjanov Abror<\/td>\n7:05<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nThe Breath of Life<\/td>\nAnna Gerasimova<\/td>\n2:00:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nREDDER<\/td>\nDerek Braasch, Anthony Cooney<\/td>\n20<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
118<\/td>\nVenezuela<\/td>\n1<\/td>\nThe eyes of the land<\/td>\nMarcos Altuve Marquina<\/td>\n15:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nTwo autumns in Paris<\/td>\nGibelys Coronado<\/td>\n1:42:44<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n3<\/td>\nAsymptomatic<\/td>\nFrancisco Villarroel, Daniel Carrillo<\/td>\n1:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n4<\/td>\nWebidemic<\/td>\nDaniel Carrillo , Francisco Villarroel<\/td>\n5:59<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
119<\/td>\nVietnam<\/td>\n1<\/td>\nThe Khe Sanh Peace Garden<\/td>\n\u00a0Tinh Mahoney<\/td>\n0:25:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
120<\/td>\nZambia<\/td>\n1<\/td>\nTASHENI<\/td>\nAnahela M Makumba<\/td>\n5:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n2<\/td>\nDestine<\/td>\nANAHELA MEMORY CHONGO MAKUMBA<\/td>\n1:40:00<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
121<\/td>\nZimbabwe<\/td>\n1<\/td>\nMotel Patel<\/td>\nSanjini Bhakta<\/td>\n11:06<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

Country 121, Films 600<\/p>\n","protected":false},"excerpt":{"rendered":"

2’nd CinemaKing International Film Festival 2021 Selection List\u00a0 Country SL Country Name SL Film Name Director Name Duration 1 Afghanistan 1 Colorless Abdul Hamid mandgar 6:55 2 Who Khadije zafary 8:44 2 Albania 1 Encounter in the Air Ardit Sadiku 1:30:00 3 Algeria 1 White Night Issam Taachit 7:12 2 In our hands Mustapha Benghernaout […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":493,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-525","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/cinemaking.org\/index.php?rest_route=\/wp\/v2\/pages\/525","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cinemaking.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/cinemaking.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/cinemaking.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/cinemaking.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=525"}],"version-history":[{"count":8,"href":"https:\/\/cinemaking.org\/index.php?rest_route=\/wp\/v2\/pages\/525\/revisions"}],"predecessor-version":[{"id":1138,"href":"https:\/\/cinemaking.org\/index.php?rest_route=\/wp\/v2\/pages\/525\/revisions\/1138"}],"up":[{"embeddable":true,"href":"https:\/\/cinemaking.org\/index.php?rest_route=\/wp\/v2\/pages\/493"}],"wp:attachment":[{"href":"https:\/\/cinemaking.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=525"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}