“You can appreciate the artistry and the fine acting and the timeless messaging in the beautifully filmed coming-of-age drama White Bird without having seen Wonder, but the connection between these two very different films is quite unusual and absorbing…” – Chicago Sun Times “…the director’s astute craftsmanship delivers a handsome result that hits the desired poignant and inspirational notes without belaboring them.” – Variety — From the best-selling author of Wonder, the book that sparked a movement to “choose kind,” comes the inspirational next chapter. In White Bird: A Wonder Story, we follow Julian (Bryce Gheisar), who has struggled to belong ever since he was expelled from his former school for his treatment of Auggie Pullman. To transform his life, Julian’s grandmother (Helen Mirren) finally reveals to Julian her own story of courage — during her youth in Nazi-occupied France, a boy shelters her from mortal danger. They find first love in a stunning, magical world of their own creation, while the boy’s mother (Gillian Anderson) risks everything to keep her safe. From director Marc Forster (Finding Neverland and Christopher Robin), screenwriter Mark Bomback, and based on R.J. Palacio’s book, White Bird: A Wonder Story, like Wonder before it, is an uplifting movie about how one act of kindness can live on forever.
“In the end, what matters is the movie, a brash, often beautiful, sometimes clotted, nakedly personal testament. It’s a little nuts, but our movies could use more craziness, more passion, feeling and nerve.” – NYT “Megalopolis” is an experience more than it’s a movie, and as an experience, it’s unforgettable.” – Detroit News MEGALOPOLIS is a Roman Epic set in an imagined Modern America. The City of New Rome must change, causing conflict between Cesar Catilina (Adam Driver), a genius artist who seeks to leap into a utopian, idealistic future, and his opposition, Mayor Franklyn Cicero (Giancarlo Esposito), who remains committed to a regressive status quo, perpetuating greed, special interests, and partisan warfare. Torn between them is socialite Julia Cicero (Nathalie Emmanuel), the mayor’s daughter, whose love for Cesar has divided her loyalties, forcing her to discover what she truly believes humanity deserves. — There will be an ULTIMATE experience in store for our audience during every screening. Regardless of what you’ve read or heard about the film, we invite you to see it for yourself!
“Conclave dares to dream of a kinder, bigger, and more inclusive version of the world—a world where doubt and faith go hand in hand, where one doesn’t have to choose between bad and worse, and absolutism is a sin.” – AV Club “…sophisticated and sharply enthralling thriller.” – Mashable “Conclave, adapted from the popular novel by Robert Harris, demonstrates Berger’s versatility and also offers one of the best roles of his career to Ralph Fiennes, who is supported by an expert ensemble.” – Hollywood Reporter CONCLAVE follows one of the world’s most secretive and ancient events — selecting the new Pope. Cardinal Lawrence (Ralph Fiennes) is tasked with running this covert process after the unexpected death of the beloved Pope. Once the Catholic Church’s most powerful leaders have gathered from around the world and are locked together in the Vatican halls, Lawrence uncovers a trail of deep secrets left in the dead Pope’s wake, secrets that could shake the foundations of the Church.
On Saturday, 11/23, we will be hosting a Q&A post-screening. Filmmaker Charles Light and performer, writer, and poet Verandah Porche and musician Patty Carpenter will be available for questions on stage. Tickets for Saturday will be $20 for general admission. All other showtimes will be regularly priced.
Tickets for Saturday’s event can be purchased here.
In the summer of 1968, a group of radical journalists from Liberation News Service (LNS) left New York City for the country in the middle of a left-wing faction fight. They founded two communes – at Packer Corners in Guilford, VT, and Montague, MA. After leaving the city and turning away from national politics, the group of young city slickers became pioneers in the back-to-the-land and organic farming movement. With the help of their neighbors, they spent the first five years learning rudimentary agricultural skills and how to live and work with each other as a communal family. In 1973, when the local utility proposed a giant twin nuclear plant four miles from the Montague Farm, they became active opponents. In a dramatic act of civil disobedience, Sam Lovejoy, from the Montague Farm, toppled a 500-foot weather tower on the planned nuclear site. He turned himself in and was acquitted after a trial where he represented himself and drew national attention. Subsequently, the group became leaders in the burgeoning No Nukes movement–from the battles over the Seabrook nuclear plant to Diablo Canyon in California and scores of reactor sites in between. In 1979, they teamed up with Jackson Browne, Bonnie Raitt, Graham Nash, and other committed rock stars to help produce five nights of sold-out concerts at Madison Square Garden and a 250,000-person rally in New York City. The Packer Corners farm also returned to politics, aiding in the anti-nuclear fight, but also by engaging with the local community through producing outdoor plays such as Midsummer Night’s Dream, Alice in Wonderland, and The Tempest. Blending contemporary interviews and a remarkable trove of original archival footage, Far Out is lively, humorous, inspiring, and irreverent. The point of view is honest rather than nostalgic. The film is vital, telling the history but hewing to the universal themes of how we grapple–over a lifetime–with politics, relationships, morality, spirituality, civic engagement, and finding our home. The movie takes advantage of an exceptional collection of archival material, much of which is produced by commune members. Producers Charles Light and Daniel Keller were community members and filmed the nuclear battles–in titles such as Lovejoy’s Nuclear War, The Last Resort, and Save the Planet–and many hours of daily life at the farms. Far Out also uses material from other professional filmmakers, notably Alan Dater and John Scagliotti’s The Stuff of Dreams, Robbie Leppzer’s Seabrook ’77, Nora Jacobson and Alan Dater’s The Vermont Movie, and Barbara Kopple and Danny Goldberg’s No Nukes. Far Out documents communal life in the ‘70s with footage shot by Harry Saxman and Don McLean and photos by Peter Simon and others. Books by commune members (among the many: Ray Mungo’s Famous Long Ago and Total Loss Farm; Steve Diamond’s What the Trees Said; Verandah Porche’s The Body’s Symmetry; Harvey Wasserman’s History of the US; Peter Gould’s Burnt Toast; Tom Fels’ Farm Friends; Marty Jezeers’ The Dark Ages; and Verandah and Patty Carpenter’s music album, Come Over, as well as the group’s Home Comfort), and the poetry, visual art, plays and music that the farms produced adds detail. The film traces fifty years in the lives of this group of New England writers, activists, and artists. It conveys how these “hippies” transformed Vermont and western Massachusetts and how rural life and the people they met changed them. “…metaphysical thriller that delivers pastiche so meticulous it becomes its own source of supremely cinematic pleasure.” – Variety “This wonderfully slippery Hitchcockian sci-fi is an elegant puzzle box full of ingenious ideas.” – Time Out “Visually striking.” – The Hollywood Reporter Set in 1962 at a quantum mechanics conference in an isolated lodge nestled amid the towering landscapes of the Swiss Alps, THE UNIVERSAL THEORY is the story of a gifted young physicist, his curmudgeonly mentor, and an enigmatic jazz pianist who knows things about our wunderkind scientist that he’s never told another living soul. German director Timm Kröger–himself also a cinematographer–films his tale with an eye for the majestic natural beauty that surrounds our characters, effectively evoking the paranoid postwar era. Driven by astonishing twists and improbable coincidences, THE UNIVERSAL THEORY unravels a captivatingly complex chronicle with brain-tickling suspense.
Real Art Ways presents a unique version of ENO with two showtimes on Thursday, October 10, during this exclusive engagement with Art House Convergence. These versions of the film will never be shown again. This premium screening event allows arthouse cinemas like ours to utilize unique files of ENO to be screened in conjunction with other independent theaters around the country on the same day. The two versions of the film are created only for participating theaters—you’ll want to be part of this experience. — “Writ large, it’s a meditation on creativity. But every version of the movie you see is different, generated by a set of rules that dictate some things about the film, while leaving others to chance.” – The New York Times “There is a curious, intuitive logic weaving together these randomly chosen scenes and clips. It’s an outstanding achievement.” – Observer (UK) 96% on Rotten Tomatoes Maverick recording artist Brian Eno co-founded Roxy Music, produced breakthrough albums for David Bowie, Talking Heads, Devo, and U2, and pioneered innovative work in ambient music. A renowned explorer of technology and “oblique strategies,” he is an unlikely subject for a conventional documentary. Still, in this first-of-its-kind portrait, Gary Hustwit (HELVETICA, RAMS) applies Eno’s concept of “generative” art: the filmmaker’s proprietary technology, developed with digital artist Brendan Dawes, produces a different movie every time it’s screened, presenting variations in sequence, music, and scenes (including some with such collaborators as Laurie Anderson, David Byrne, David Bowie, U2, and others). ENO had its world premiere at Sundance in January 2024 and has garnered notable press coverage from The New York Times, NPR Weekend Edition, and The Guardian. The film has wowed audiences, with some moviegoers returning five, six, or even 12 times to see how the film changes daily. On September 15, in its third month on screen, Hustwit debuted the next evolution of the film, Generation 4, which features new unreleased footage and software functions. Says Hustwit: “It’s exciting that we can continue to evolve the film over time, to incorporate more of Brian’s ideas and music. The film and the storytelling structure itself can continually grow, which is only possible with this generative film approach.”
“…asks you to look at subjects you think you already know from a different angle and witness what should never be forgotten.” – RoberEbert.com “It would be hard for any narrative feature film to capture the many facets of the photographer responsible for some of the most indelible images of World War II. Winslet embodies those dimensions — as well as Miller’s propulsive drive — often with an askance look, a whetted remark, a resolve both stubborn and practical.” – NYT Lee, the directorial feature from award-winning cinematographer Ellen Kuras (Eternal Sunshine of the Spotless Mind), portrays a pivotal decade in the life of American war correspondent and photographer Lee Miller (Kate Winslet). Miller’s singular talent and unbridled tenacity resulted in some of the 20th century’s most indelible images of war, including an iconic photo of Miller herself, posing defiantly in Hitler’s private bathtub. Miller had a profound understanding and empathy for women and the voiceless victims of war. Her images display both the fragility and ferocity of the human experience. Above all, the film shows how Miller lived her life full-throttle in pursuit of truth, for which she paid a huge personal price, forcing her to confront a traumatic and deeply buried secret from her childhood.
“Beautifully acted all round, and a dazzling feat of stylistic play and period recreation…” – Screen Daily “The film offers a unique twist on the boxing genre, combining elements of a mockumentary, with the intense drama of a sports comeback story.” – Social News Check out this wonderful review of the film in The New Yorker.
Synopsis:
Set in the mid-1960s in Hartford, Connecticut, The Featherweight presents a gripping chapter in the true-life story of Italian-American boxer Willie Pep (James Madio)—the winningest fighter of all time—who, down and out in his mid-40s and with his personal life in shambles, decides to make a return to the ring, at which point a documentary camera crew enters his life. Painstakingly researched and constructed, the film is a visceral portrait of the discontents of twentieth-century American masculinity, fame, and self-perception.
Robert Kolodny’s (cinematographer of Procession and All the Beauty and the Bloodshed) feature directorial debut follows the true story of legendary 2x World Featherweight boxing champion Willie Pep. The impressive cast is led by James Madio (The Penguin, Band of Brothers, Hook, Basketball Diaries) with a career-best performance as Pep, alongside Ruby Wolf in her feature debut, Keir Gilchrist (Love & Death, Atypical), Stephen Lang (Avatar Franchise), Ron Livingston (Swingers, Office Space, The Flash, Loudermilk), Lawrence Gilliard Jr (The Walking Dead, One Night in Miami…), undefeated professional featherweight boxer Bruce Carrington, and Hartford local Imma Aiello in her big-screen debut as Mama Papaleo, Willie Pep’s mother.
This acclaimed Hartford-based Willie Pep biopic opens in theaters across Pep’s hometown state of Connecticut on September 20. It had a world premiere in 2023 at the 80th Venice International Film Festival with a 6-minute standing ovation.
“The making of The Featherweight in our beloved Hartford is a case study on how filmmaking can create community pride, honor the legacy of a hometown hero, and provide local economic impact. More than a film production, it is a community collaboration.” – Executive Producer Donna Collins
“Beautifully acted all round, and a dazzling feat of stylistic play and period recreation…” – Screen Daily “The film offers a unique twist on the boxing genre, combining elements of a mockumentary, with the intense drama of a sports comeback story.” – Social News —
Join us as an early audience to experience this story on the big screen when we host a sneak preview screening on Wednesday, September 18, at 7:15 pm.
Post-screening, we will hear from some of the cast and production team to share more about the making of the movie. James Madio (lead), Steve Loff (writer/producer), and Imma Aiello (cast member) will be on stage for the Q&A, with Dennis House (from WTNH News 8 ABC) moderating.
Advance tickets (which we always recommend) for the 9/18 event: https://realartways.easy-ware-ticketing.com/…/S4TlJRu4z…
Synopsis:
Set in the mid-1960s in Hartford, Connecticut, The Featherweight presents a gripping chapter in the true-life story of Italian-American boxer Willie Pep (James Madio)—the winningest fighter of all time—who, down and out in his mid-40s and with his personal life in shambles, decides to make a return to the ring, at which point a documentary camera crew enters his life. Painstakingly researched and constructed, the film is a visceral portrait of the discontents of twentieth-century American masculinity, fame, and self-perception.
Robert Kolodny’s (cinematographer of Procession and All the Beauty and the Bloodshed) feature directorial debut follows the true story of legendary 2x World Featherweight boxing champion Willie Pep. The impressive cast is led by James Madio (The Penguin, Band of Brothers, Hook, Basketball Diaries) with a career-best performance as Pep, alongside Ruby Wolf in her feature debut, Keir Gilchrist (Love & Death, Atypical), Stephen Lang (Avatar Franchise), Ron Livingston (Swingers, Office Space, The Flash, Loudermilk), Lawrence Gilliard Jr (The Walking Dead, One Night in Miami…), undefeated professional featherweight boxer Bruce Carrington, and Hartford local Imma Aiello in her big-screen debut as Mama Papaleo, Willie Pep’s mother.
This acclaimed Hartford-based Willie Pep biopic opens in theaters across Pep’s hometown state of Connecticut on September 20. It had a world premiere in 2023 at the 80th Venice International Film Festival with a 6-minute standing ovation.
“The making of The Featherweight in our beloved Hartford is a case study on how filmmaking can create community pride, honor the legacy of a hometown hero, and provide local economic impact. More than a film production, it is a community collaboration.” – Executive Producer Donna Collins
Check out the latest review of this film on The New York Times. 98% on Rotten Tomatoes In India Donaldson’s insightful, piercing debut, 17-year-old Sam (Lily Collias) embarks on a three-day backpacking trip in the Catskills with her dad, Chris (James Le Gros), and his oldest friend, Matt (Danny McCarthy). As the two men quickly settle into a gently quarrelsome brotherly dynamic, airing long-held grievances, Sam, wise beyond her years, attempts to mediate. But when lines are crossed, and Sam’s trust is betrayed, tensions reach a fever pitch. Sam struggles with her dad’s emotional limitations and experiences the universal moment when the parental bond is tested. Selected in both Sundance and Cannes’ Directors’ Fortnight, Good One is an emotionally expansive work that probes the limits of familial trust, understanding, and forgiveness.
“The most complete essay in the décor of delirium is one of the most famous films of all time, and it was considered a radical advance in film technique, yet it is rarely imitated—and you’ll know why.” – The New Yorker Considered to be the world’s first true horror film, THE CABINET OF DR. CALIGARI was released in 1920 and introduced audiences to a new genre of psychological horror. At a carnival in Germany, Francis (Friedrich Feher) and his friend Alan (Rudolf Lettinger) encounter the crazed Dr. Caligari (Werner Krauss). The men see Caligari showing off his sleepwalker, Cesare (Conrad Veidt), a hypnotized man who the doctor claims can see into the future. Shockingly, Cesare predicts Alan’s death, and by morning, his chilling prophecy has come true — making Cesare a prime suspect. Is Cesare guilty, or is the doctor controlling him? On Sunday, September 29, at 2:30 pm, we will host a screening of this film in our cinema with a score composed and performed live by Roger C. Miller and Terry Donahue of The Anvil Orchestra. Roger and Terry have been live-scoring silent films individually and collectively for over 30 years. If you’ve ever experienced a live-scored movie in an arthouse theater, you know how special it will be. $40 General Admission $30 RAW Members $15 Full-Time Students w/ ID (presented at Box Office)
In 2008, during the last month of summer before high school begins, an impressionable 13-year-old Taiwanese American boy learns what his family can’t teach him: how to skate, flirt, and love your mom. — Dìdi is the debut feature from director and writer Sean Wang. You may remember watching his Oscar-nominated short, Nai Nai & Wài Pó, earlier this year in our cinema. There has been so much buzz around Dìdi all summer, we are thrilled to be screening it after much anticipation.
On Friday, September 6th, 6 PM (for one night only), we are hosting a conversation with Angela Rola (founding Director of the Asian American Cultural Center at the University of Connecticut, Storrs campus), Catherine Shen (host of CT Public’s Where We Live), and Jaspreet Singh (Trumbull High School senior). This presentation is co-hosted by our community partner, Asian Pacific American Coalition of CT (APAC CT). APAC is a non-profit organization founded in 2006 that provides services and education for and about the Asian American and Pacific Islander communities in Connecticut.
If you are a member of APAC CT, you will be offered a discounted price of $7 for admission. When ordering tickets online, please select Adult Member for the discounted pricing.Due to limited seating, securing advance tickets for the September 6 screening and panel is highly recommended.
Link to buy tickets for September 6 here.
Angela Rola is the founding Director of the Asian American Cultural Center (AsACC) at the University of Connecticut, Storrs campus. This student-centered space focuses on cultural identity, equity, and inclusion, where students can be part of many programs that develop their leadership skills and sense of belonging. She is an Affiliate Faculty for the UConn Asian & Asian American Studies Institute and developed and taught a course on Asian American mentoring and leadership. She lectures extensively in undergraduate and graduate courses on campus and at local colleges and universities. Most recently, she also served as a co-principal investigator for a $1.9 million grant at the UConn Hartford campus that centers on developing courses and programs focused on the Asian American community. Angela develops and facilitates workshops on issues of diversity, equity, inclusion, and social justice, implicit bias, cultural competency, and creating inclusive environments. Within the state of Connecticut, Angela lobbied for the creation of the first Asian American Affairs Commission, which is now part of the Commission on Women, Children, Seniors, Equity & Opportunity (CWCSEO). In 2006 she co-founded the Asian Pacific American Coalition of CT, a non-profit, non-partisan community group that provides services and education for and about the Asian American community in Connecticut. She presently sits on its Executive Board. Before working in Higher Education, Angela worked in both the corporate and non-profit worlds as a Human Resources specialist in New York, California, and Alaska. Pronouns: She/Her/Hers 
Jaspreet Singh is a senior at Trumbull High School, where he’s captain of the cross country track team, VP of Finance for the DECA chapter and a member of FBLA. Outside of school, he enjoys serving his community and is an intern with the Sikh American Legal Defense Education Fund (SALDEF) and Asian Pacific American Coalition of Connecticut. Jaspreet volunteers at his local place of worship (gurdwara) on Sundays and is CFO of a tutoring non-profit called Trumbull Tutors, whose goal is to provide students in underprivileged areas with free access to education. When he’s not in school or volunteering and has some time to himself, he enjoys playing basketball with friends and skiing during the winter. — “It’s a love letter to the world of Top 8s and status updates, an apology to beleaguered parents everywhere,” Li continues. “And, perhaps for Wang, an embrace of his younger self’s disorientation.” – The Atlantic
“There’s a particular scene in the film that is pure in its heart-on-its-sleeve naked brilliance, one that’s as full of rich emotion as anything you’ll see in any movie this year.” – SF Chronicle
Listen to this They Call Us Bruce podcast episode featuring Sean Wang
We are hosting a one-night event on Thursday, September 12, at 6:30 pm – a documentary screening and Q&A with filmmakers Pamela Yates (Director) and Paco de Onís (Producer) – in our cinema.
Getting advance tickets is highly recommended. 
Logline
There is a war on immigrants. A massive surveillance, militarized, and carceral apparatus has been built to capture, imprison, and deport millions. But in the shadow of this border industrial complex, immigrants are building a rights movement envisioning a future rooted in human connection and the sanctity of life.Synopsis
The United States border is not just a geographic location. The border is everywhere. It lies within every undocumented immigrant family with the threat that, at any moment, they can be captured, incarcerated, deported; their lives destroyed. BORDERLAND | The Line Within not only exposes the profitable business of immigration and its human cost, but weaves together the stories of immigrant heroines and heroes resisting and showing a way forward, intent on building a movement in the shadow of the border industrial complex, recognizing the human rights of all.Director’s Statement (Pamela Yates)
BORDERLAND l The Line Within is a critique of my country’s inhumane treatment of people arriving in the U.S. It’s about the use of immigration as a gateway to fascist ideology and political power. I’ve been making films internationally for the past 20 years but feel it is important to have a critique of my own country now. I searched among Americans finding creative ways to resist the cruelty of our immigration policies, but instead I found a dynamic movement growing among undocumented immigrants to organize, educate themselves, demand their rights and become a force. Weaving the story together by scraping the web and invoking the Freedom of Information Act, I chose a trio of experimental digital humanists artfully exposing the business of immigration, a multibillion-dollar system to stop people from crossing the border, incarcerate them and deport them. Making this film would take five years.
Pamela Yates filming with cinematographer Juan Hernández, AEC, in the Sonoran Desert Never has my work as a human rights defender and documentary filmmaker come together so closely nor been so demanding. Never had I had to depend so strongly on the collaboration of the protagonists in telling their stories. For example, when Kaxh Mura’l an environmental defender of the Maya-Ixil ancestral lands was threatened with death for his activism, he fled his homeland Guatemala and began the dangerous journey to seek asylum in the U.S. Since he was in my previous film, 500 Years, he contacted me upon leaving so of course I was going to do what I could to help him. He’s a beautiful writer and an important leader. Together we would tell his story. When Kaxh arrived in Ciudad Juárez, Mexico, I got him a pro bono lawyer just across the border in El Paso who could travel back and forth and represent him. I acted as a kind of paralegal to the lawyer Carlos Spector, doing research, gathering documentation, creating briefs to argue the case in court, and writing an affidavit for Kaxh as well as his traveling companion Francisco. Together we formed a circle of solidarity made up of Carlos, Giovanni Batz, a PhD in social anthropology, church supporters, and humanitarian aid people working in the El Paso/Juárez corridor. We’d meet weekly to move Kaxh and Francisco’s cases forward and provide for their needs. I knew I had to be completely transparent about my involvement in how the filmmaker helped shape the story. I did it through sparse narration, and Kaxh’s harrowing WhatsApp voice messaging back and forth with me. We laid bare the process of making the film, which is another interesting facet of the film itself. BORDERLAND would be connected to The Resistance Saga, the trilogy of films about Guatemala that I had made over the past 35 years, but it would take place in the U.S. As Mayan immigration increased – there are now thought to be more than 1 million Mayan people in the diaspora here – I thought of BORDERLAND as a kind of continuation of the story and of our work. I was so fortunate to meet Gabriela Castañeda of The Border Network for Human Rights and for her to collaborate with me over the years it took to make this film. Gaby, talented organizer that she has become, showed me what special perseverance it takes to build leadership when people are so afraid. She brought us into places where immigrants felt free to talk to her and to each other about this fear and how it affected their children. Though in danger of being deported for her activism, Gaby’s sharp intelligence always put others first and she knew how to bring out the greatest leadership potential in each person she encountered. Together with Juan Hernández, the cinematographer who lives in northern Mexico and who is best known for his dramatic feature films, we devised a look that made the most of the anamorphic widescreen format 2.39:1 (for a more epic feel) as we wove complicated stories together using only prime lenses. I wanted to capture the majesty and terror of the landscapes, the border wall scar, the excitement of creating power in numbers as immigrants formed networks across the country. I thought about how to visualize an almost subversive environment for the xpMethod digital humanists, a liminal space to expose the cruelty of what our tax dollars are supporting, often without our knowledge. BORDERLAND was filmed to be seen on the big screen, it’s my commitment to the future of cinema. The recorded location sound had to be perfect, always difficult in documentary filmmaking where you have no control over the surroundings. I began my career as a sound recordist, so you can only imagine how demanding I am of sound recordists on my own films. David Fournier Castillo is the prodigy sound recordist from Mexico City who made all the difference in his close attention to recording the soundscape. From the Arizona desert to studio shoots in New York City, he came through to deliver magnificent sound. I had always wanted Sara Curruchich to compose and perform the musical soundtrack on BORDERLAND. I knew she would bring Mayan sensibilities, instrumentation and vocalization to evoke the tragedy of being forced to flee, and the nostalgia for family, land, language, and culture left behind. Our long-time composer Roger C. Miller joined Sara and together they created the extraordinary film music track. The meaning of the title BORDERLAND | The Line Within is at the heart of the film. The border is not geographical line, but rather a vast border industrial complex entrenched in every corner of the U.S. It is inside each and every undocumented person because wherever they may be, the fear of being discovered and deported is looming, yet in the shadow of the border industrial complex, they are quietly creating networks and building power. Synopsis:
A mysterious grifter appears on an isolated seaside estate, claiming to be a wealthy family’s new chef. When a plague descends on the island, the mischievous cook rouses his fellow staff to rebel and take over the mansion. The servant becomes the master in this devious class-war comedy starring Peter Sarsgaard (The Batman, Dopesick) and Billy Magnussen (Road House, No Time to Die). Check out this recent review of the film from NYT. “The remarkable thing about Silver’s work is how many of the traps it avoids, reminding us how this kind of thing can be done well when it feels focused on character and truth instead of theme or message.” – RogerEbert.com
Synopsis:
In BETWEEN THE TEMPLES, Ben (Schwartzman) is a forty-something cantor losing his voice and possibly his faith. Struggling to meet the expectations of his rabbi, congregation, and not one but two Jewish mothers (Aaron and de Leon), Ben finds his world turned upside down when his grade school music teacher re-enters his life as an adult bat mitzvah student. This warm and anxious comedy from prolific writer/director Nathan Silver explores the complexities of belief, connection, and what it means to be a real mensch.Check out The NY Times interview with director Oz Perkins (son of Psycho star Anthony Perkins).
Synopsis:
In pursuit of a serial killer, an FBI agent uncovers a series of occult clues that she must solve to end his terrifying killing spree.Synopsis:
A sweeping family adventure, My Penguin Friend is a triumphant tale of friendship between a lonely father and a little lost penguin who recharges his spirit and heals his family with an unshakable, ocean-crossing loyalty. Humble fisherman João (international star Jean Reno) has turned away from the world in the wake of tragedy. But when he discovers a penguin drifting alone in the ocean, drenched in oil from a spill, his first instinct is to help. To his wife’s (Oscar nominee Adriana Barraza) dismay, he rescues the sea creature and takes the flightless bird under his wing. For the first time in years, João starts to feel joy, even if he cannot fathom just how unbreakable a bond is being formed. When the penguin suddenly disappears back into the immense wilds of the ocean, João believes it is impossible that he will ever see his friend again. But thousands of miles away, the penguin is caught in misadventures of his own, determined to use his unique GPS-like powers to find his way back to the place he now considers home. Based on an emotional true story that riveted the world and filmed on the spectacular coasts of Brazil and Argentina, My Penguin Friend is a tale that traverses the magic of the ocean, the beauty of nature, and the transformative power of love. Playing exclusively for ONE WEEKEND only. — DAN DA DAN follows Momo, a high school girl from a family of spirit mediums, and her classmate Okarun, an occult freak. The two of them start talking after Momo rescues Okarun from getting bullied. However, an argument ensues between them — Momo believes in ghosts but denies aliens, and Okarun believes in aliens but denies ghosts. To make the mutual deniers believe in each other, Momo goes to an abandoned hospital known for its UFO sightings, and Okarun goes to a tunnel that is said to be haunted. In each place, they encounter overwhelming paranormal activity that transcends comprehension. Amid these predicaments, Momo awakens her hidden power and Okarun gains the power of a curse to challenge the paranormal forces! Their fateful love begins as well!? The story of the occult battle and adolescence starts!
“The Adventures of Priscilla” alternates between pit stops in unlikely places (Bernardette does an expert job of startling a crowd of drunks in one small town) and eye-catching musical numbers, which are the film’s real raison d’etre.” – NY Times
Synopsis: When drag queen Anthony (Hugo Weaving) agrees to take his act on the road, he invites fellow cross-dresser Adam (Guy Pearce) and transsexual Bernadette (Terence Stamp) to come along. In their colorful bus, named Priscilla, the three performers travel across the Australian desert performing for enthusiastic crowds and homophobic locals. But when the other two performers learn the truth about why Anthony took the job, it threatens their act and their friendship.
“Nearly dialogue-free, “Hundreds of Beavers” is a madcap genre-hopper, mixing silent film performance styles with hand-drawn animation, slapstick comedy, Looney Tunes-like sound effects and stop-motion graphics. Like a Super Mario Brothers video game, its action unfolds in vignettes, with Jean outwitting whimsically disproportionate beavers and responding to fatal interactions with unlimited resurrections.” – NY Times
Synopsis: In this 19th-century supernatural winter epic, a drunken applejack salesman must go from zero to hero and defeat hundreds of beavers to become North America’s greatest fur trapper. JEAN KAYAK finds himself stranded in a surreal winter landscape with only his dim wits to guide him. Against a backdrop of ruthless elements and sinister creatures – all played by actors in full-sized mascot costumes – KAYAK develops increasingly complex traps to win the hand of a mischievous lover.
