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

Theatrical poster for Zootopia 2 (2025), which keeps a scene back for the credits.

After cracking the biggest case in Zootopia's history, rookie cops Judy Hopps and Nick Wilde find themselves on the twisting trail of a great mystery when Gary De'Snake arrives and turns the animal metropolis upside down. To crack the case, Judy and Nick must go undercover to unexpected new parts of town, where their growing partnership is tested like never before.

Poster for All That's Left of You (2025), blank on post-credit scenes.

After a Palestinian teen gets swept up into a West Bank protest, his mother recounts the family story of hope, courage and relentless struggle that led to this fateful moment.

A Touch of Sin (2013): nobody has checked the credits yet.

Four people in different provinces are driven to violent ends: An angry miner is enraged by corruption in his village. A migrant discovers the possibilities of owning a firearm. A receptionist is pushed beyond her limits by an abusive client. A young factory worker goes from one job to the next.

Poster for PINBALL (2026). Never been answered.

In a contemplative coming of age portrait, PINBALL follows Yosef, a spirited athlete, in Louisville, Kentucky as he dives into the memories of his journey from Iraq to America and what it means to chase his dreams in the shadow of a war that displaced his family from their Iraqi homeland.

Movie poster for To a Land Unknown (2025), waiting for its first vote.

Cousins Chatila and Reda are saving to pay for fake passports to get out of Athens. When Reda loses their hard-earned cash to his drug addiction, Chatila hatches an extreme plan to pose as smugglers in an attempt to get them out of their desperate situation before it is too late.

Film artwork for Lovers in the Blue Night (2026), no verdict on the credits.

Set against the margins of Mumbai, the film follows four migrants – a gay husband, his wife working in a bar, a thief, and a pimp – whose lives converge around love, survival, and longing

Maysa (2025) artwork. Still a mystery after the credits.

Maysa unfolds over a single afternoon as a young woman and her stoic middle eastern mother navigate the quiet tension of a long-held silence. As memories of migration and girlhood surface in fractured flashbacks, their unspoken history begins to unravel. A tender, restrained portrait of love, resilience, and the things women carry - even when they no longer have to.

Film artwork for Gauze (2025), no verdict on the credits.

14-year-old Zain, a Palestinian swimming champion, faces war and man-made famine. He becomes the sole caregiver to his little brother. When aid drops into the sea, desperate for food, Zain is forced to swim - not for passion, but for survival.

Cover image for War Dance (2007), not yet voted on.

Three children living in a displacement camp in northern Uganda compete in their country's national music and dance festival.

DIRT (2026) cover. Nothing recorded about its credits.

Following the outbreak of war, an elderly Ukrainian refugee gets stopped by Customs while trying to bring a jar of Ukrainian soil into the UK.

Medea (2022) artwork. Still a mystery after the credits.

After escaping from her homeland and now abandoned by the man she loves, Medea must find strength from within to fight against growing injustice - how far is she willing to go?

Bhuthan: The World’s Happiest Man (2025): nobody has checked the credits yet.

Bhutan: The World’s Happiest Man tells the story of Mr. Bishnu, an aging Bhutanese-American in Ohio, who dreams of returning to his homeland. After his unexpected death, his family faces a conflict over his final resting place, torn between past memories and present realities. This emotional drama explores themes of love, loss, and the search for belonging.

Poster for where we used to sleep (2024). No votes yet on whether it has a post-credit scene.

Long ago, Geamăna was a Romanian village in the Apuseni Mountains, home to about 1000 people. Today, only the church spire rises from the poisonous mud of a neighbouring copper mine. Almost all the houses have sunk and their inhabitants fled. On the edge of the past, Valeria Praţa strives for her present - and is threatened by the future.

The Distance We Drift (2026) poster. Still unanswered: is there a scene after the credits?

After nearly a decade apart, two former lovers from Hong Kong unexpectedly meet again in the UK, where they have each built a different life. Their reunion brings back memories they have tried to move on from, as they slowly reconnect and begin to see how much has changed. Now living far from home, they are forced to face the distance between who they were and who they have become. Set within the everyday reality of immigrant life, The Distance We Drift is a quiet and intimate story about love, memory, and the way time reshapes people in ways they don’t always realise.

Poster art for El apagón: Aquí vive gente (2022), an open question on post-credit scenes.

“El apagón: Aquí vive gente” is a 23-minute film that explores the socio-economic challenges in Puerto Rico, focusing on the effects of power outages and gentrification driven by the real estate and energy sectors. Through visuals and personal stories, the documentary highlights the experiences of Puerto Rican communities facing these issues.

Poster, Saffron Kingdom (2025). Nobody has voted on this one.

After her husband is abducted in Kashmir, a traumatised woman flees to the United States with her young son to rebuild their lives.

Poster art for Delirium (2025), an open question on post-credit scenes.

A bucolic fantasy frolic in which an adaptable young woman must navigate a bewildering and whimsical phantasmagoria, populated by anthropomorphic and bombastic creatures. The characters she encounters, she discovers, reject established facts and knowledge in favour of: galvanising, albeit meaningless soundbites (often in the form of riddles and poetry), vigilantism and its blunt implementation of “justice” and cult-like acts of dissent. Ironically, leading these academic rebellions are the establishment figures themselves.

Free Fish (2025) artwork. Still a mystery after the credits.

Free Fish is a short documentary filmed over the course of a year in Gaza, following two brothers — Abu Nagham and Ahmad — separated by war yet connected by the sea. Displaced from their home, Abu Nagham now lives in a tent in the south, fishing with his young nephew Rami, who lost his twin brother. Ahmad remains in the north, fishing amid ruins and occupation. Once a source of livelihood and freedom, the sea has become a battleground — heavily restricted, constantly watched, and always dangerous.

Cover image for Brick by Brick (1982), not yet voted on.

A prescient portrait of late-1970s Washington, D.C., that chronicles the city's creeping gentrification, the systematic expulsion of poor Black residents, and the community response in the form of the Seaton Street Project, in which tenants banded together to purchase buildings.

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