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VISUAL AIDS: Meet Us Where We’re At

Real Art Ways is proud to partner with Visual AIDS for Day With(out) Art 2025 by presenting Meet Us Where We’re At, a program of six videos that forefront the experiences of drug users and harm reduction practices as they intersect with the ongoing HIV crisis.

This is screening for one day only, on Monday, December 1, in our video gallery. The videos will loop between 1-9 pm.

Meet Us Where We’re At features newly commissioned videos by Kenneth Idongesit Usoro (Nigeria), Hoàng Thái Anh (Vietnam), Gustavo Vinagre & Vinicius Couto (Brazil/Portugal), Camilo Tapia Flores (Chile/Brazil), Camila Flores-Fernández (Peru/Germany), and José Luis Cortés (Puerto Rico).

These videos journey across a range of spaces, revealing the complexity of drug use. Several videos document the visible world of drugs—a harm reduction program in a Berlin park, a night out during Rio’s Carnival—while others reveal private, often hidden spaces where safety is found: bedrooms, underground clinics, and moments of connection between lovers.

Meet Us Where We’re At speaks not only to the variety of physical locations where contemporary harm reduction is practiced, but also to a broader shift: centering drug users as authors of their own experiences. Rooted in the philosophy of meeting people at their personal reality without judgment, the program affirms the full context of drug use—its pleasures, its risks, and its role in how people survive, care, and connect.

Harm reduction has long been central to the AIDS movement through practices like needle exchange and safe injection sites, and people who use drugs have been affected by HIV since the earliest days of the epidemic. This program brings their perspectives to the forefront, amplifying the voices of drug users as storytellers, cultural producers, and essential participants in the global response to HIV.

As this is a program centering harm reduction, it will contain depictions of sexual activity and drug use.

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Kenneth Idongesit Usoro, Voices of Resilience

Voices of Resilience follows the lives of queer individuals and drug users living with HIV in Nigeria. Through personal interviews and experimental visual storytelling, the film shows the protagonists’ worlds as they seek out underground harm reduction services.

Hoàng Thái Anh, The Sisters’ Journey

Through a documentary style, The Sisters’ Journey explores the daily life of a transgender woman in Vietnam using drugs. The film delves into her fear of stigma, struggles she faces, and the vital role of harm reduction services and healthcare available to her.

Gustavo Vinagre and Vinicius Couto, chempassion

In the magical realist film, chempassion, a gay man reminisces about his orgy days and chem sex, contemplating what the future holds for himself and his close relationships.

Camilo Tapia Flores, Realce (Highlight)

Realce is a documentary short following two HIV-positive friends, DJ Deseo and porn actor Fernando Brutto, during one of their performances at Rio de Janeiro’s Carnival. The duo move through the streets of Rio and Carnival “blocos,” sharing their reflections on friendship, undetectability, their relationship with sex, and drug use within their own community.

Camila Flores-Fernández, Ghost in the Park

Ghost in the Park traces the narratives of the community of Görlitzer Park, an area in Berlin known for public drug use and trade. Highlighting “drug consumption buses” that promote safer use and aim to reduce HIV transmission among drug users, the space of the bus is taken as an axis through which the experiences and feelings of the community around the park are amplified.

José Luis Cortés, ¿Por qué tanto dolor? (Why so much pain?)

Instead of asking, “Why so much meth in the gay community?,” Cortés’s experimental film provokes the deeper question, “Why so much pain?” The film delves into the emotional and social wounds that fuel addiction and risk-taking behaviors.

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Visual AIDS is a New York-based non-profit that utilizes art to fight AIDS by provoking dialogue, supporting HIV+ artists, and preserving a legacy, because AIDS is not over.

Trifole

“This is a gorgeous, touching film that transports you in swelling operatic fashion, per Fabbro’s tradition.” – San Jose Mercury News

“An emotional tale…with a fairytale and nolstagic touch.” – Rolling Stone

“…a feast for the senses!” – Forbes

A modern fable about truffles, sustainability, and family. Trifole, set in the Alba White Truffle region of Italy, tells the adventure of a young woman looking for her own path who reconnects with her ailing, truffle-hunting grandfather and nature. Eventually, she bonds with her grandfather and learns to value tradition, the territory, and a more sustainable way of life.

Italian with English subtitles

Bugonia

“Bugonia is one of the best films in recent memory to capture what it feels like to be alive right now. Because of that, it is Yorgos Lanthimos’s darkest and most timely work.” – The Independent (UK)

“Lanthimos’s hand is steady as he spins us deeper into chaos, always withholding just enough to keep us questioning what’s real.” – Chicago Reader

“Proof that not every new movie is a cookie-cutter audience pleaser. Expect the unexpected in a sublimely ridiculous corporate kidnap caper with a side of science fiction.” – AARP Movies for Grown Ups

Two conspiracy obsessed young men kidnap the high-powered CEO of a major company, convinced that she is an alien intent on destroying planet Earth.

Peter Hujar’s Day

“Sachs presents his characters’ intellect and emotion, their artistic energy, as inseparable from physicality: he avoids the cliché of talking heads and realizes the idea of talking bodies.” – The New Yorker

“The result is a charming experiment that should delight those who like their pleasures both nostalgic and voyeuristic.” – The New York Times

“Peter Hujar’s Day doesn’t ask big questions – it creates an ephemeral, meditative space that invites them.” – Filmspotting

“The film is a surprisingly beautiful and subtle tribute to the balancing act it takes to be a working artist.” – RogerEbert.com

A film adaptation of the book, Peter Hujar’s Day, by Linda Rosenkrantz. It invites audiences into a single day in 1974 with groundbreaking queer photographer Peter Hujar. Set entirely in one room, the film re-creates the conversation between Hujar and Rosenkrantz, recorded on audio tape nearly fifty years ago and later published as a book. Through their freewheeling, intimate exchange, Hujar shares vivid stories of his interactions with literary and cultural icons like William Burroughs, Candy Darling, Susan Sontag and Allen Ginsberg, while also reflecting on the rhythms of everyday life in 1970s New York.

Mistress Dispeller

“Rather than leaning on caricatures or stereotypes, the film gives each person’s perspective a respectful hearing. The added element of Wang’s subterfuge is what keeps it all fresh.” – The New York Times

“It’s about the mysteries of the human heart. Its exploration of these subtle depths is sensitive, as are its conclusions.” – RogerEbert.com

“Mistress Dispeller is a bittersweet take on bittersweet feelings that is also a fascinating showcase of the familial, cultural and societal rules and rituals in China.” – The New Indian Express

“Mistress Dispeller is a marvel: elegantly constructed, ethically created, and thought-provokingly humane.” – Mashable

“This level of intimacy and access is rare in any nonfiction film, guiding “Mistress Dispeller” toward a profound and searching panorama of loneliness and partnership, where everyone gets a chance to be heard.” – IndieWire

95% on Rotten Tomatoes

In China, a new industry has emerged devoted to helping couples stay married in the face of infidelity. Wang Zhenxi is part of this growing profession, a “mistress dispeller” who is hired to maintain the bonds of marriage — and break up affairs — by any means necessary. Offering strikingly intimate access to private dramas usually hidden behind closed doors, Mistress Dispeller follows a real, unfolding case of infidelity as Teacher Wang attempts to bring a couple back from the edge of crisis. Their story shifts our sympathies between husband, wife, and mistress to explore the ways emotion, pragmatism, and cultural norms collide to shape romantic relationships in contemporary China.

It Was Just An Accident

“If anyone has the right to make a revenge fantasy, it’s Jafar Panahi. And yet, this movie isn’t that. Panahi doesn’t make statement films; he makes question films, designed to instigate soul-searching and debate.” – Washington Post

“Once you arrive at the ultimate destination — a primal, furious cinematic scream at all the injustices that have happened in Iran and throughout the globe — you will never forget it. This is essential viewing and essential filmmaking.” – San Jose Mercury News

“It Was Just an Accident plays like an ideal melding of the filmmaker Panahi was and the filmmaker he’s been forced to become. It’s an endlessly fascinating and extraordinarily powerful work.” – New York Magazine / Vulture

“Mr. Panahi’s victimization by Iran’s government may well continue, but this is a film of emotional and political truths that can be crushed by no regime.” – Wall Street Journal

97% on Rotten Tomatoes

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What begins as a minor accident sets in motion a series of escalating consequences.

Jafar Panahi’s Palme d’Or–winning film cements his reputation as one of the most daring filmmakers of our time. Perhaps his most courageous work yet, the film follows a group of former Iranian political prisoners who face the question of whether to exact revenge on their tormentor. The film is an Oscar contender, as France has selected it as its official entry for the Best International Feature Film at the 98th Academy Awards.

In Farsi & English with English subtitles

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About Jafar Panahi

Jafar Panahi (Born 11 July 1960) is an Iranian film director, screenwriter, and film editor, commonly identified with the Iranian New Wave film movement. After several years of making short films and working as an assistant director for fellow Iranian film-maker Abbas Kiarostami, Panahi achieved international recognition with his feature film debut, The White Balloon (1995). The film won the Caméra d’Or at the 1995 Cannes Film Festival, the first major award won by an Iranian film at Cannes.

Panahi was quickly recognized as one of the most influential film-makers in Iran. Although his films were often banned in his own country, he continued to receive international acclaim from film theorists and critics and won numerous awards, including the Golden Leopard at the Locarno International Film Festival for The Mirror (1997), the Golden Lion at the Venice Film Festival for The Circle (2000), and the Silver Bear at the Berlin Film Festival for Offside (2006).

His films are known for their humanistic perspective on life in Iran, often focusing on the hardships of children, the impoverished, and women. Hamid Dabashi has written, “Panahi does not do as he is told – in fact he has made a successful career in not doing as he is told.”

After several years of conflict with the Iranian government over the content of his films (including several short-term arrests), Panahi was arrested in March 2010 along with his wife, daughter, and 15 friends and later charged with propaganda against the Iranian government. Despite support from filmmakers, film organizations, and human rights organizations from around the world, in December 2010 Panahi was sentenced to a six-year jail sentence and a 20-year ban on directing any movies, writing screenplays, giving any form of interview with Iranian or foreign media, or from leaving the country except for medical treatment or making the Hajj pilgrimage. While awaiting the result of an appeal he made This Is Not a Film (2011), a documentary feature in the form of a video diary in spite of the legal ramifications of his arrest. It was smuggled out of Iran in a flash drive hidden inside a cake and shown at the 2011 Cannes Film Festival. In February 2013 the 63rd Berlin International Film Festival showed Closed Curtain (2013) by Panahi and Kambuzia Partovi in competition; Panahi won the Silver Bear for Best Script. Panahi’s new film Taxi (2015) premiered in competition at the 65th Berlin International Film Festival in February 2015 and won Golden Bear, the prize awarded for the best film in the festival.

Sentimental Value

“It’s a movie that sneaks up on you like great fiction, blending theme and character in a way that allows it to live in your mind after you see it, rolling around what it means to both the people in it and your own life.” – RogerEbert.com

“It’s hardly a guilty pleasure movie, though its sheer pleasantness comes with a certain pang of conscience: should cinema this intelligent be this much fun to watch?” – Daily Telegraph (UK)

“Sentimental Value is about art and history and emotional openness, but it’s more than anything a playful but also wondrously frank exploration of what it actually means to be family.” – New York Magazine / Vulture

“A heart-swelling and unexpectedly humor-filled tale that will break you before it makes you whole again. You will leave the movie with a newfound gratitude for all that cinema can do.” – Elle

96% on Rotten Tomatoes

Sisters Nora and Agnes reunite with their estranged father, the charismatic Gustav, a once-renowned director who offers stage actress Nora a role in what he hopes will be his comeback film. When Nora turns it down, she soon discovers he has given her part to an eager young Hollywood star. Suddenly, the two sisters must navigate their complicated relationship with their father—and deal with an American star dropped right into the middle of their family dynamics.

The Mastermind

“Kelly Reichardt’s “The Mastermind” Reinvents the Heist Movie” – The New Yorker

“O’Connor is one of the most exciting younger actors to have emerged in recent years, with an expressive breadth and depth that reveal new layers with each performance.” – The New York Times

“This is O’Connor at his finest yet, and The Mastermind is the slinkiest, most satisfying piece of “mood cinema” you’re likely to have seen for a long while.” – London Evening Standard

“The Mastermind is a slow-burn thriller, directed with a thief’s precision by Reichardt and anchored by an excellent performance by O’Connor.” – Chicago Reader

Celebrated filmmaker Kelly Reichardt (First Cow, Showing Up) directs an unforgettable Josh O’Connor in THE MASTERMIND, her latest Cannes triumph.

In a sedate Massachusetts suburb circa 1970, unemployed family man and amateur art thief J.B Mooney sets out on his first heist. With the museum cased and accomplices recruited, he has an airtight plan. Or so he thinks.

A brilliant look at the folly of man, THE MASTERMIND also features Alana Haim, Gaby Hoffmann, John Magaro, Hope Davis and Bill Camp. Rich in textured detail, this sly depiction of an era subverts long-held illusions and confronts disillusionment.

World AIDS Day Film Screening: Derek Jarman’s Blue (1993)

In recognition of World AIDS Day, you’re invited to a community screening of Derek Jarman’s final feature film, BLUE. A single field of radiant blue fills the screen while Jarman, facing AIDS in the final month of his life, speaks of illness, intimacy, and eternity. With only voice and color, BLUE becomes a meditation on presence and absence, on the body in decline, and the spirit in defiant bloom.

The 2:00 pm screening will take place at the Wadsworth Atheneum Museum of Art, 600 Main St, Hartford, CT 06103.

Admission is free, although advance registration is encouraged. (Please note, admission to the film screening does not include museum admission.)

Learn more by visiting the event page here. To register, click here.

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Presented in partnership with Real Art Ways and Out Film CT with support from the Joseph and Robert Cornell Memorial Foundation Fund at the Wadsworth Atheneum. This special screening launches Glitter & Ash: A Derek Jarman Retrospective, a season-long tribute to one of queer cinema’s visionary artists. The retrospective unfolds alongside the exhibition Gerald Incandela: Photographic Drawings.

Also in the Wadsworth theater lobby, learn about HIV/AIDS-related resources in Connecticut and see exhibiting artist Gerald Incandela’s on-set photographs from Jarman’s Caravaggio, accompanied by a continuous screening of the 1986 film.

Blue Moon

“Linklater understands how to use his camera in confined spaces to keep a talkie movie visually arresting. And he’s helped by the snap of Robert Kaplow’s screenplay and by an immaculate cast that nails every line.” – NPR

“In an often remarkable career, Hawke has never embraced that truth so completely as he does here.” – LA Times

“Linklater has crafted one of his finest dramedies, a consistently fascinating exploration of the frailty of the artist, buoyed by one of Ethan Hawke’s most remarkable performances.” – RogerEbert.com

“Blue Moon revels in a fine mind and a great soul, and Hawke’s embodiment of both is exalted and startling. His makeup renders him unrecognizable and is eerily compelling, while his vocal self-transformation is nothing short of miraculous.” –

The New Yorker

Richard Linklater’s Blue Moon tells the story of legendary lyricist Lorenz Hart bravely facing the future as his professional and private life unravels at the opening night party for his former partner’s hit show, Oklahoma! By the time this night is over, Hart will have confronted both a world that no longer values his talent and the seeming impossibility of love.

Good Boy

“This is horror at its best, because it makes you look at life differently.” – San Francisco Chronicle “Indy and this movie deserve a treat.” – RogerEbert.com “What comes across most strongly, and gives the film its emotional power, is Indy’s unfailing loyalty to his beloved owner and his willingness do practically anything to protect him.” – The Hollywood Reporter

Our canine hero, Indy, embarks on a new adventure with his human owner — and best friend — Todd, leaving city life behind for a long-vacant family home in the country. From the start, two things are abundantly clear: Indy is wary of the creepy old house, and his affection for Todd is unwavering. After moving in, Indy is immediately vexed by empty corners, tracks an invisible presence only he can see, perceives phantasmagoric warnings from a long-dead dog, and is haunted by visions of the previous occupant’s grim death. When Todd begins succumbing to the dark forces swirling around the house, Indy must battle a malevolence intent on dragging his beloved Todd into the afterlife.

Orwell: 2+2=5

“It’s dazzling and terrifying…” – Slate “Orwell: 2+2=5 is a vital film.” Hollywood Reporter “The filmmaker isn’t subtle, but then, neither was his subject, and the film’s points could hardly seem more prescient than they do in this moment.” – NPR “Peck’s piercing nonfiction has previously given voice to the dead and the dismissed, but now uses one of West’s most acclaimed and quoted novelists to lay bare its persistent sins.” – AV Club From Academy Award®-nominated and BAFTA-winning director Raoul Peck (I Am Not Your Negro), Orwell is the definitive feature-length documentary on visionary author George Orwell, with the exclusive cooperation of the Orwell Estate. ‍ “Who controls the past controls the future: who controls the present controls the past…,” wrote Orwell in his novel, 1984. Today, the “newspeak” of authoritarian rule is alive and well and in unexpected places, from the rise of AI Chatbots to the Russian propaganda machine, from the marketing webs of commercial metaverses to the political banning of books in the Southern United States. Peck’s “Orwell” will use George Orwell’s life, work, and legacy as a maverick iconoclastic writer to jam the signals of the algorithms gone rogue, which, in the name of personal freedom, threaten to close our minds to a greater possibility.

Strange Journey: The Story of Rocky Horror

“Spaces of transgression and safety have never been more important (or in scarce supply) than now, and at its best, ‘Strange Journey: The Story of Rocky Horror’ offers that same playground for its viewers to experience.” – RogerEbert.com “Anyone who lives, breathes, and bleeds ‘Rocky Horror’ will find comfort in ‘Strange Journey’ and its celebration of the musical’s enduring legacy.” – IndieWire 100% on Rotten Tomatoes From humble origins as a London fringe theater play to its meteoric rise, fall, and resurrection as the biggest cult film of all time, this is the definitive story of the Rocky Horror Show. With intimate access to its creator Richard O’Brien and other major players such as Tim Curry, Susan Sarandon, and Lou Adler, the documentary explores what makes the play and film so singular: Its groundbreaking and transgressive themes, iconic performances, and epic songs that took over pop culture. The cult phenomenon that sprung around it is unparalleled and created not only the midnight screenings, which continue to this day, but also a haven for those who have ever felt different or marginalized.

The Librarians

“There’s never been a movie more vital this year than The Librarians. If you prize literature, intelligence, independent thought, safe spaces for children, it’s a necessary watch.” – The Film Maven “From its superb opening-credits sequence paying tribute to card catalogs of yore to its sharp selection of vintage clips and intimate reportage, “The Librarians” is as well-crafted as it is profoundly alarming.” – New York Times “Filmmaker Kim A. Snyder’s illuminating documentary offers a rattling look at coordinated efforts to ban books. More importantly, it introduces viewers to the everyday and increasingly vital heroes pushing back.” – Variety 93% Librarians emerge as first responders in the fight for democracy and our First Amendment Rights. As they well know, controlling the flow of ideas means control over communities. In Texas, the Krause List targets 850 books focused on race and LGBTQia+ stories — triggering sweeping book bans across the U.S. at an unprecedented rate. As tensions escalate, librarians connect the dots from heated school and library board meetings nationwide to lay bare the underpinnings of White Christian Nationalism fueling the censorship efforts. Despite facing harassment, threats, and laws aimed at criminalizing their work, the librarians’ rallying cry for freedom to read is a chilling cautionary tale.

Midsommar (2019)

Part of our “RAW Terror” horror film marathon programming for Thursday, October 16, during Creative Cocktail Hour… You have the option to purchase tickets for Midsommar and pair it with Scream and The Evil Dead as a Double Feature, OR take on the ultimate challenge of watching ALL THREE FILMS as a Triple Feature – all screening on the night of October 16. Double Feature: The Evil Dead (5:15) and Midsommar (9:10): General admission $20 Double Feature: Scream (7:00) and Midsommar (9:10): General admission $20 Triple Feature: Scream (7:00), The Evil Dead (5:15), and Midsommar (9:10): General admission $24 — “It’s a world that you absolutely believe in, aided by really really brilliant performances.” – Kermode & Mayo’s Film Review “Indeed, it’s cultural sensitivity that lies at the heart of this movie. It is not about serial killers, aliens or supernatural beings. It is about the ordinary humans we know as the Other because they come from somewhere else.” – The Australian “Ari Aster’s folk-horror flick is frightening, beautiful, and just a little unhinged.” – The New Republic

A young American couple, their relationship floundering, travel to a Swedish midsummer festival where a seemingly pastoral paradise transforms into a sinister, dread-soaked nightmare as the locals reveal their terrifying agenda.

Scream (1996)

Part of our “RAW Terror” horror film marathon programming for Thursday, October 16, during Creative Cocktail Hour… You have the option to purchase tickets for Scream and pair it with The Evil Dead or Midsommar as a Double Feature, OR take on the ultimate challenge of watching ALL THREE FILMS as a Triple Feature – all screening on the night of October 16. Double Feature:The Evil Dead (5:15) and Scream (7:00): General admission $20 Double Feature: Scream (7:00) and Midsommar (9:10): General admission $20 Triple Feature: The Evil Dead (5:15), Scream (7:00), and Midsommar (9:10): General admission $24 – “Scream is a howling great time.” – Toronto Star “You probably have to be a horror-freak to really understand the immense ingenuity of this movie, but in every department — direction, acting, sound design — it is a stunner.” – The Age (Australia) “No one will ever consider Wes Craven’s Scream Oscar fodder, but this funny and scary little experiment in terror from the man who invented “Nightmare on Elm Street” puts some fun back into a very tired genre.” – Newsweek

The sleepy little town of Woodsboro just woke up screaming. There’s a killer in their midst who’s seen a few too many scary movies. Suddenly, nobody is safe, as the psychopath stalks victims, taunts them with trivia questions, then rips them to bloody shreds. It could be anybody…

The Evil Dead (1981)

Part of our “RAW Terror” horror film marathon programming for Thursday, October 16, during Creative Cocktail Hour… You have the option to purchase tickets for The Evil Dead and pair it with Scream or Midsommar as a Double Feature, OR take on the ultimate challenge of watching ALL THREE FILMS as a Triple Feature – all screening on the night of October 16. Double Feature: The Evil Dead (5:15) and Scream (7:00): General admission $20 Double Feature: The Evil Dead (5:15) and Midsommar (9:10): General admission $20 Triple Feature: The Evil Dead (5:15), Scream (7:00), and Midsommar (9:10): General admission $24 – “Sam Raimi’s 1981 breakout feature remains profoundly unsettling due to the gonzo vigour with which he attacks his subject.” – The Times (UK) “It’s a great audience participation show.” – The New York Times “The Evil Dead still feels like the punchiest horror flick this side of a Dario Argento gialli.” – Slant Magazine

Ashley “Ash” Williams (Bruce Campbell), his girlfriend, and three pals hike into the woods to a cabin for a fun night away. There, they find an old book, the Necronomicon, whose text reawakens the dead when it’s read aloud. The friends inadvertently release a flood of evil and must fight for their lives or become one of the evil dead. Ash watches his friends become possessed, and must make a difficult decision before daybreak to save his own life in this, the first of Sam Raimi’s trilogy.

Twinless

“Just trust me when I say that it’s extremely clever and full of surprises, and reinforces that writer, director, and co-star James Sweeney is a bold and refreshing filmmaker to watch.” – RogerEbert.com “The indignities of grief take center stage in James Sweeney’s touching, hilarious and eventually enthralling Twinless.” –Observer “Sweeney’s unpredictable movie twists and writhes, while never losing sight of its layered characters’ heartfelt longing.” – New York Post “Given the twisty, often jaw-droppingly unexpected nature of Twinless, it’ll be a hard one to keep fully under wraps until release. It’s doubly hard given how hugely impressive the film is as well.” – Guardian Two young men meet in a twin support group and form an unlikely friendship. Roman (Dylan O’Brien) and Dennis (James Sweeney) both search for solace and an identity without their other halves and soon become inseparable outside the group. But when Roman meets Dennis’ ebullient co-worker, Marcie (Aisling Franciosi), all is revealed to be not what it seems, as each man harbors secrets that could unravel everything.

Taylor Swift | The Official Release Party of a Showgirl

Celebrate The Official Release Party of a Showgirl in theaters only October 3rd – 5th. See the exclusive world premiere of the music video, “The Fate of Ophelia,” along with behind-the-scenes footage from the music video shoot, brand new lyric videos, and Taylor’s never-before-seen personal reflections on songs from her 12th studio album, The Life of a Showgirl. Please note: This is a one-weekend-only event and there are no member-priced / discounted tickets.

Downton Abbey: The Grand Finale

“With a profound embrace of the changing times and clever winks at Downton devotees, writer Julian Fellowes and director Simon Curtis deliver a heart-swelling conclusion.” – Variety

“Downton Abbey: The Grand Finale transports you to a time and place that seems so much more glamorous than our own, and to see it all splashed out on the big screen is almost overwhelming. It’s a genteel fantasy worth leaving the couch for.” – TIME Magazine

92% on Rotten Tomatoes DOWNTON ABBEY: THE GRAND FINALE, the cinematic return of the global phenomenon, follows the Crawley family and their staff as they enter the 1930s. When Mary finds herself at the center of a public scandal and the family faces financial trouble, the entire household grapples with the threat of social disgrace. The Crawleys must embrace change as the staff prepares for a new chapter with the next generation leading Downton Abbey into the future.