S1.E4 ∙ White on White on White

Dexter's controlled life gets thrown into confusion when a girl appears on his work that looks exactly like his girlfriend Stella. At home his beloved Stella doesn't understand what's going on and she starts questioning their relationship. Dexter's life deteriorates furthermore: traffic bills keep coming in, he is banned from his trusted working place, Stella breaks up with him, and his boss sends him on an immediate leave. When Dexter has crashed several cars, he is arrested by the police and taken to hospital. There he is told that a stroke has caused him a brain damage in his right hemisphere. Consequently he doesn't see left anymore and his sense of reality has been affected: he sees the same people everywhere. Dexter has to learn to live in a world wherein people look alike. Initially he reacts rather indifferent. Then, in the hospital he meets another girl who looks like Stella. She is of little words and has a minimal appetite. As she has to regain her taste for life, Dexter has to discover that from all Stella's, there's only one he really cares about. LEFT is a tragicomedy wherein Dexter is forced to look into his other side. The film treats this subject subtly and considerate: everything gets twisted a little bit, but never falls apart completely.

An East German man finds a way to cross the border between East and West Berlin. But when he succeeds in bringing his wife out as well, things are not quite as expected.

Four friends meet to take mysterious pills that cause instant amnesia at the stroke of midnight.

With humility and heartbreaking hilarity, 'the(718)' presents the misadventures of beer-drinking, football-watching, awkward homosexual Stephen and his two straight best friends (as well as his beat poet conscience) as they navigate life and love in New York City's County of Kings. With a little less shoe talk than 'Sex & The City' (but a lot more testosterone), it's a clever and sexy portrait of Brooklyn's three most (in)eligible bachelors brimming with all of the insecurity, bravado and dependency that they would prefer to keep secret.

Death surrounds Bahman, a director who hasn't made a film in 24 years (he can't get past the censors). He's working on a documentary, for Japanese TV, on Iranian burial practices. On the anniversary of his wife's death, a hitchhiker tells him a story of spousal abuse and infant mortality, he discovers that someone has been buried in his plot next to his wife, and he needs the help of his attorney, a well-connected fixer. He dreams of death, even as he investigates it for his film. His niece's husband, a well-known writer, fails to return home; he searches hospitals for an unclaimed body. His heart disease is flaring up. Is he prepared for death? Is that all that's left?

Two employee of security section of a shipyard help the police to keep watch on a murder suspect.