Sex, the City and Me

Set in rural Hawai’i and featuring an entirely AANHPI cast, Chaperone follows Misha, an unambitious 29-year-old woman who finds a dangerous acceptance in a bright 18-year-old athlete who mistakes her for a fellow high school student.

A coming-of-age film about a group of outsider teenagers in Seattle dealing with the consequences of accidental gun violence in their hometown.

In the depths of a Maine winter, an end-of-life doula prepares her clients for death while grappling with her own uncertainties about loss and mourning.

Confronting deeply rooted sexism in the rodeo and its imminent economic decline, two rodeo queen sisters fight to change the future of their community’s most cherished tradition.

Filmed over a decade and set in the American West, Dryland traces a young man's quest for victory in a rambunctious contest, while battling to preserve a threatened way of life. Josh Knodel and best friend Matt Miller strive to win the Lind Combine Demolition Derby, save their town, and preserve the legacy of their families' Eastern Washington wheat farms.

A journey in sound through the unusual life and career of jazz legend Charles Lloyd. Lloyd's own voice, and those who worked with him over the last five decades help us discover and better understand this enigmatic man and his spiritual pursuit through music.

Inexorable is a psychological horror film that focuses on the fears we have at night.

Brooklyn, 4 July 2004. Jenny Perlin spends her entire Independence Day filming her neighbourhood supermarket. Although the front of the building is dilapidated and the sign is so old you can barely read it, this shop has everything a larger supermarket has, "and sometimes even more," according to its proud owner Mr. Leem. He and his brother work 14-hour days in the supermarket. In an off-screen interview, he tells about the shop's history and about his favourite music: Johnny Cash and Najwa Karam. Every two hours, Perlin grabbed her 16 mm Bolex camera to shoot two and a half minutes of film (the time it takes for the spool to unwind). This "arbitrary" style of filmmaking emphasises not the action, but the rhythm. The beauty of the shop is not in the extraordinary events taking place there, but in the fixed patterns of plodding and rummaging.

In 1970, a few days before Christmas, Elvis Presley showed up on the White House lawn seeking to be deputized into the Bureau of Narcotics and Dangerous Drugs by the President himself.

"Low Visibility" finds a man wandering alone on a snowy mountain roadside, waving his arms and shouting at the sky. The enigmatic Mr. Bones, an apparent amnesiac, is unable or unwilling to explain what has happened to him.

The Dumpster Kid is an artistic creation: in every story society forces her to learn something. But she, fully grown from the moment of her birth, unquestionably learns more than is called for. This extra knowledge, which is not wanted by society, regularly brings her into danger. Dumpster Kid dies in each story, and across each genre. Her stories are set in a whole range of different time periods. What is a Dumpster Kid?

23 August 2008 consists of two shots. A brief opening shot, intercut with inter-titles, of the famous Al-Mutanabbi Street book market in Baghdad is followed by an unbroken eighteen-minute monologue, shot from a single, still camera position and simply recording the speaker’s words without interruption. In it, Faysal Abudullah gradually builds a portrait of his relationship with his younger brother, Kamel, and in the process evokes the lives of Iraqi intellectuals of the left, driven into exile in the early 1980s by Saddam Hussein’s regime. Faysal describes Kamel’s decision to return to Iraq in 2003, his work for the new Ministry of Culture and his tragic death at the hands of unknown assassins on 23 August 2008. While the film throws light on little known aspects of Iraq’s political history, primarily it is the story of the two brothers, of Faysal’s devotion to Kamel and their contrasting attitudes to exile and to life itself.

Amy Johnson was the first woman to fly solo from Great Britain to Australia. Mulvey and Wollen’s experimental documentary combines newsreel footage of the aviator’s arrival, dramatic recreations of events from her life and contemporary discussions by feminist groups on the subject of heroism in this most unconventional biopic.

Competitive bodybuilder Léa Pearl is preparing to compete for the prestigious Miss Heaven title. Her coach, Al, a former bodybuilding star, hopes that, thanks to Léa, he will be back in the spotlight once again. But at the last minute, Léa's ex arrives with their son Joseph, who she hasn't seen in four years.

The award-winning documentary film Justice for My Sister takes an intimate look at violence against women in Guatemala by chronicling the three-year journey of Rebeca as she tries to hold her sister's killer accountable. The film serves as the centerpiece of a transnational campaign to promote healthy relationships and denounce gender-based violence and femicide/feminicide.

Amidst the preparations for her 35th wedding anniversary, Meredith is surprised by the discovery that she is HIV-positive. Only her husband André could have been the carrier of the virus.

Two co-dependent sisters, a recovering sex addict and a lonely lesbian who work as hotel maids in Fresno, go to ludicrous lengths to cover up an accidental crime.

A group of young men try to interpret their friends art, so they can save face and show support.

A hen-pecked husband, so timid that he doesn’t even dare to drive a car, embarks on an affair with a much younger woman (played by Lisa Owen), who lives in the same apartment building as him and his wife. Eventually, he finds that the young woman is just as demanding as his difficult wife.

Based on the Nicaraguan poet Ernesto Cardenal's tribute to Norma Jeane Mortenson, these Cuban filmmakers link the actresses' overdose/suicide to patriarchy, exploitation, and many of the ills of the twentieth century.