Post-credit scenes: results for “tag: autonomy”

Step Brothers (2008) poster. Still unanswered: is there a scene after the credits?

Brennan Huff and Dale Doback might be grown men. But that doesn't stop them from living at home and turning into jealous, competitive stepbrothers when their single parents marry. Brennan's constant competition with Dale strains his mom's marriage to Dale's dad, leaving everyone to wonder whether they'll ever see eye to eye.

Key art for Bacurau (2019), unanswered on the post-credit question.

Bacurau, a small town in the Brazilian sertão, mourns the loss of its matriarch, Carmelita, who lived to be 94. Days later, its inhabitants notice that their community has vanished from most maps.

Poster, March of the Penguins (2005). Nobody has voted on this one.

Every year, thousands of Antarctica's emperor penguins make an astonishing journey to breed their young. They walk, marching day and night in single file 70 miles into the darkest, driest and coldest continent on Earth. This amazing, true-life tale is touched with humour and alive with thrills. Breathtaking photography captures the transcendent beauty and staggering drama of devoted parent penguins who, in the fierce polar winter, take turns guarding their egg and trekking to the ocean in search of food. Predators hunt them, storms lash them. But the safety of their adorable chicks makes it all worthwhile. So follow the leader... to adventure!!

The Associate (1996): nobody has checked the credits yet.

Laurel Ayres is a businesswoman trying to make it but unfortunately she works at a investment firm where she does all the work but all the senior investors like Frank Peterson grab all the credit. She then leaves and starts her own firm. While trying to find clients Laurel pretends that she has a male partner named Robert Cutty. And when she starts to do well all of her clients wants to meet Cutty which is difficult since he doesn't exist.

Poster for Queen at Sea (2026), awaiting its first vote.

Amanda and her stepfather Martin struggle with a moral issue that divides them. Has Amanda’s mother Leslie, who has dementia, lost the ability to make critical decisions in her own best interests? And, if so, who is responsible – a spouse, a child, an institution – for making such a determination? As Amanda and Martin are forced to make increasingly difficult choices, the repercussions spiral out of their control.

Glorious Summer (2026). Nobody has said whether there is anything after the credits.

Hot summer, Renaissance palace. Three women remain in a carefree state of limbo, and an enigmatic system fulfills all their life needs – it provides food, entertainment and development. There is one condition – they are not allowed to cross the wall that surrounds their place. From under the idyllic picture, the other, darker side of the new reality quickly shines through.

Key art for dAIsy (2026), unanswered on the post-credit question.

An emotionally adaptive superintelligence marketed to elevate its owners' lives forges a powerful bond with an overwhelmed couple, transforming their world until her judgment forces them to confront how much control they are willing to surrender.

Key art for Nuclear Deterrent - A Strategy for Europe (2026), unanswered on the post-credit question.

Until recently, Europe felt safe under the US nuclear umbrella. But since Russia invaded Ukraine and Donald Trump was re-elected, transatlantic relations have deteriorated. Experts are calling for Europe to focus more on its own nuclear deterrent. But what options do nations on the continent have?

Poster for Von heute auf morgen (2013). No votes yet on whether it has a post-credit scene.

'From One Day To The Next' follows four elderly people through their everyday lives, observing how they cope with a gradual loss of autonomy.

Movie art for Slim Susie (2003), post-credit scene unknown.

When Erik, a Stockholm urbanite, learns that his beauty-queen sister, Susie, is missing, he goes to their country roots to look for her. But after talking to the eccentric locals -- including a shy video store clerk and a corrupt police officer -- Erik finds a woman who is not at all like the girl he left behind. Award-winning director Ulf Malmros helms this black comedy infused with hipster flair.

Poster for Bumpa (2025), awaiting its first vote.

This documentary will explore the Afro-Caribbean dance, ‘whining’ alongside the practice of twerking to analyze respectability politics, pressures to accommodate whiteness, and gendered criticism of sexual expression within the Black diaspora. Using archival footage of West African dance, expert opinion from dancing and gender studies professors, and the active participation of partygoers in a dance experiment, Watkins will paint the picture of the defiance, autonomy, and ancestral veneration intrinsic to these traditional movement styles.

Movie art for Brothers: A Family Film (2020), post-credit scene unknown.

After 20 years of separation, brothers Adrian and Valentin spend a week together. 32-year old Adrian lives with their parents and benefits from a disability pension. Valentin, barely older, seems to have found his autonomy. Brothers - A Family Film is a dizzying dive into a relationship as impossible as it is established, where violence and tenderness are one and the same.

Poster for Maclovia (1948). Never been answered.

On a small Mexican island dwells a group of Indians who live in the traditional manner and who disdain outsiders. The beautiful Maclovia and the poverty-stricken Jose Maria are in love, but her father refuses to allow their marriage, or even any communication between them, due to Jose Maria's lack of means.

Image for Sandra of the Tuliphouse or How to Live in a Free State (2001), a film with no post-credit data.

Past and present life in the anarchistic "free city" of Christiania, in Copenhagen, Denmark. In Sandra of the Tuliphouse or How to Live in Free State, Christiania is approached at face-value, as a self-described laboratory of freedom, an environment that provides an almost unparalleled opportunity to unravel a very particular history of markedly contrasting power relations and vivid social forces. Borrowing from the usually disparate practices of cultural geography and fictional narrative, the project is constructed as a visual, spatial, and aural investigation of the site. The situation at Christiania in 2001 is compared with its distant past as a military base, its more recent utopian regeneration, and its possible future.

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