In 1955, 60-year-old Marcel Pagnol is a well-known and acclaimed playwright and filmmaker. When the editor-in-chief of ELLE magazine commissions a weekly column about Pagnol’s childhood, he sees this as a great opportunity to go back to his artistic roots: writing. Realizing his memory is failing him and deeply affected by the disappointing results of his last two plays, Pagnol starts doubting his ability to pursue his work. That is until Little Marcel — the young boy he used to be — appears to him as if by magic. Together, they will explore Marcel Pagnol’s incredible life and bring back to life his most cherished encounters and memories...

A housewife who is unhappy with her life befriends an old lady in a nursing home and is enthralled by the tales she tells of people she used to know.

THE GRAVEYARD GRINDHOUSE PRESENTS: The Slumber Party Massacre. A high school student's slumber party turns terrifying as an escaped mental patient with a drill decides to crash the evening.

What if you could talk to animals and understand what they’re saying? In Disney and Pixar’s all-new feature film “Hoppers,” scientists have discovered how to “hop” human consciousness into lifelike robotic animals, allowing people to communicate with animals as animals! The adventure introduces Mabel, an animal lover who seizes an opportunity to use the technology, uncovering mysteries within the animal world that are beyond anything she could have imagined.

Lotto and Berenson: Crossed Destinies follows the intertwined journeys of Lorenzo Lotto, a forgotten Renaissance master, and Bernard Berenson, the American Jewish art critic who resurrected his legacy. Through the eyes of actor Alessandro Sperduti, the film retraces Lotto's artistic path across Italy, uncovering the painter's personal and professional struggles. At the same time, it explores Berenson's fascination with Lotto’s ability to capture the human soul, creating a profound reflection on art, ambition, and the fear of being forgotten.

Pasha Talankin is an unlikely hero—a beloved Russian primary school teacher, known as a mentor and prankster who offers students a safe haven in his office. After Russia invades Ukraine, Pasha’s role in the school changes dramatically as he is reluctantly drawn into Putin’s propaganda machine. Forced to promote state-sanctioned messages and horrified by the transformation of his school and community, he struggles with guilt and a sense of powerlessness, leading him to become an international whistleblower. As the school’s videographer, Pasha documents intimate and revealing footage of Putin’s regime, capturing the rise of militarized children’s groups, repressive laws, fervent nationalism, and the recruitment of graduating students to fight in the war. When he learns his own life may be at risk, Pasha is forced to plan a dangerous escape from Russia. Directed by David Borenstein and co-directed by Pasha Talankin, this uniquely collaborative film is as captivating and joyful as it is eye-opening and sobering. Mr. Nobody Against Putin showcases rare footage that reveals the profound impact of Putin’s regime on the lives of everyday Russians, particularly its children.

The debt contemporary culture has towards Munch is impressive, from Andy Wharhol to Ingmar Bergman, from Marina Abramovich to Jasper Johnes. If his painting has become a symbol and at the same time an omen of the tragedies of the twentieth century, his art has travelled new and experimental roads of extraordinary modernity. Today, however, it is his city, Oslo, which sets a turning point for the knowledge of Munch: the birth of a new museum, opening in June 2020. The documentary will start from there to shed light on a man and an artist with singular charm, a precursor and a master.

Painting the Soul of the 20th Century: Pellizza Da Volpedo tells the story of the tormented life of divisionist painter Giuseppe Pellizza (1868-1907), famous for his work 'The Fourth Estate', as well as for his ability to study the soul and human society. Exploring the places he lived in as well as his artistic sensitivity, with Bentivoglio as our guide and “narrative consciousness”, it reveals the artist’s emotions and his vision of reality through a sophisticated use of shots from different angles inspired by the colours in his paintings. Pellizza’s tragic end is part of the story and makes the emotional bond between the viewer and the artist’s work all the more profound.

Perugino: Eternal Renaissance is a journey to discover Perugino, one of the most revered artists of the 15th Century and to celebrate the 500th Anniversary of his death. Journey through Italy to discover his great masterpieces, from the frescoes of the Sistine Chapel to the two rooms entirely dedicated to him in the National Gallery of Umbria. Spectators will be led on a guided discovery of the artist’s harmonious work: a perfect balance between man and nature, realism and idealism, as seen in paintings such as “The Delivery of the Keys” in the Vatican’s Sistine Chapel, “Lamentation over the Dead Christ” in the Galleria Palatina in Florence, the “Pietà” and “Agony in the Garden” in the Uffizi Gallery.

Fifty years after his passing, we embark on a journey through his Paris, amidst sunshine and shadow, convictions, and contradictions, from a young, impoverished foreigner to a 20th-century icon. Above all, the creative energy of a revolutionary genius, and a national museum dedicated to him in the heart of the French capital. 6,000 masterpieces, 200,000 archival materials. The most extensive collection in existence for the painter who never concealed a thing about himself.

Science teacher Ryland Grace (Ryan Gosling) wakes up on a spaceship light years from home with no recollection of who he is or how he got there. As his memory returns, he begins to uncover his mission: solve the riddle of the mysterious substance causing the sun to die out. He must call on his scientific knowledge and unorthodox ideas to save everything on Earth from extinction… but an unexpected friendship means he may not have to do it alone.

Patricia is an evidential Medium. She reads with great Accuracy Integrity, Humor and Love. She gives messages to audience members from your loved Ones in Spirit as she receives them. These messages help to bring us Peace, Closure and Comfort and let us know that even though we leave our physical body, our spirit, our essence, our soul live on. Death does not separate love. Love sees all, believes all and never ends. Patricia Griffin is a natural born medium who in 2014 came to a point where she could no longer deny her gifts and went professional. Patricia was born and raised in Waterbury, CT. Her CT shows include Comix Roadhouse @ Mohegan Sun as many other venues in the state spreading the message that love sees all, believes all and never ends. Communicating with loved ones brings peace, validation and closure to let us know they are still with us. Patricia has been featured on Anna and Raven , Plum foods podcast , WPLR, WPKN, WATR,She does private readings, group sessions, galleries, and fundraisers. Patricia is a strong proponent of education within her field. She teaches psychic development circles and mediumship courses for Milford Adult Education ,Shoreline Adult Education in Branford and Valley Regional Adult Education.

After a perfect outing with her boyfriend, Kenna (Maika Monroe; The Hand that Rocks the Cradle, Longlegs) makes an unbearable mistake that sends her to prison. Seven years later, Kenna returns to her hometown in Wyoming, hoping to rebuild her life and earn the chance to reunite with her young daughter, Diem, whom she has never known. When Diem’s custodial grandparents adamantly refuse Kenna’s attempts to see her daughter, Kenna discovers unexpected compassion, and then something truer and deeper, with former NFL player and local bar owner Ledger (Tyriq Withers; HIM, I Know What You Did Last Summer). As their secret romance develops, so do the dangers for both of them, leading Kenna toward heartbreak and, ultimately, the hope for a second chance.

The Papal Basilicas of Rome 3D is a unique film that combines history, spirituality, architecture and art. It takes its cue from the Extraordinary Jubilee proclaimed by Pope Francis, which will see the faithful from all over the world pour into Rome in their millions, to cross the threshold of the Papal Basilicas and obtain a plenary indulgence. The opening of the Holy Doors will be an historical moment, certain to draw the whole world’s attention to Rome’s Papal Basilicas and be the ideal opportunity to tell the story, in spectacular 3D, using a narrative language that will emotionally involve audiences.

Two sisters join the first female professional baseball league and struggle to help it succeed amidst their own growing rivalry.

Based on Truman Capote's novel, this is the story of a young woman in New York City who meets a young man when he moves into her apartment building. He is with an older woman who is very wealthy, but he wants to be a writer. She is working as an expensive escort and searching for a rich, older man to marry.

Spending the summer at a Catskills resort with her family, Frances "Baby" Houseman falls in love with the camp's dance instructor, Johnny Castle.

A gay cabaret owner and his drag queen companion agree to put up a false straight front so that their son can introduce them to his fiancée's right-wing moralistic parents.

Twenty years after making their iconic turns as Miranda, Andy, Emily and Nigel—Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci return to the fashionable streets of New York City and the sleek offices of Runway Magazine in 20th Century Studios’ “The Devil Wears Prada 2,” the eagerly awaited sequel to the 2006 phenomenon that defined a generation. The film is directed by David Frankel, written by Aline Brosh McKenna, produced by Wendy Finerman, and executive produced by Michael Bederman, Karen Rosenfelt and Aline Brosh McKenna.

THE GRAVEYARD GRINDHOUSE PRESENTS: ALICE, SWEET ALICE. In 1960s New Jersey, a withdrawn adolescent girl is suspected of her younger sister's brutal murder during her first communion, as well as a series of stabbings that follow.

THE GRAVEYARD GRINDHOUSE PRESENTS: The Hills Have Eyes. While traveling in a trailer through the desert to California, the retired detective Big Bob Carter stops in an isolated gas station with his family for fueling and rest. Bob is traveling with his wife Ethel, his son Bobby, his daughters Brenda and Lynn and his son-in-law and Lynn's husband Doug and their daughter baby Katy. When they leave the gas station, the owner advises Bob to stay in the main road. However, the stubborn driver takes a shortcut through a nuclear testing site and wrecks his station wagon. With the family stranded in the middle of nowhere, Bob and Doug walk on the road trying to find some help. Bob is captured by an insane and sadistic member of a deranged evil family that lives nearby the spot. Doug returns to the trailer, and along the night the Carter family is attacked by a group of psychotic cannibal criminals. Absolutely trapped by the murderers, they have to fight to survive.

American composer Gabriela Lena Frank makes her Met debut with her first opera, a magical-realist portrait of Mexico’s painterly power couple Frida Kahlo and Diego Rivera, with libretto by Pulitzer Prize–winning playwright Nilo Cruz. Fashioned as a reversal of the Orpheus and Euridice myth, the story depicts Frida, sung by leading mezzo-soprano Isabel Leonard, leaving the underworld on the Day of the Dead and reuniting with Diego, portrayed by baritone Carlos Álvarez. The famously feuding pair briefly relive their tumultuous love, embracing both the passion and the pain before bidding the land of the living a final farewell. Yannick Nézet-Séguin conducts the Met premiere of Frank’s opera, a “confident, richly imagined score” (The New Yorker) that “bursts with color and fresh individuality” (Los Angeles Times). The vibrant new production, taking enthusiastic inspiration from Frida and Diego’s paintings, is directed and choreographed by Deborah Colker, following her remarkable 2024 debut staging of Ainadamar.

ACT I Russia, 19th century. Autumn in the country. On the Larin estate. Madame Larina reflects upon the days before she married, when she was courted by her husband but loved another. She is now a widow with two daughters: Tatiana and Olga. While Tatiana spends her time reading novels, with whose heroines she closely identifies, Olga is being courted by their neighbor, the poet Lenski. He arrives unexpectedly, bringing with him a new visitor, Eugene Onegin, with whom Tatiana falls in love. Tatiana asks her nurse Filippyevna to tell her of her first love and marriage. Tatiana stays up all night writing a passionate letter to Onegin and persuades Filippyevna to have her grandson deliver it in the morning. Tatiana waits for Onegin’s response in the garden. He admits that he was touched by her declaration but explains that he cannot accept it and can only offer her friendship. He advises her to control her emotions, lest another man take advantage of her innocence. ACT II January. The local community has been invited to the Larin estate to celebrate Tatiana’s name day. Onegin has reluctantly agreed to accompany Lenski to what he mistakenly believes will be an intimate family celebration. Annoyed to find himself trapped at an enormous party and bored by the occasion, Onegin takes his revenge on Lenski by flirting and dancing with Olga. Lenski’s jealousy is aroused to such a height that he challenges Onegin to a duel. The party breaks up. Before the duel, Lenski meditates upon his poetry, upon his love for Olga, and upon death. Lenski’s second finds Onegin’s late arrival and his choice of a second insulting. Although both Lenski and Onegin are full of remorse, neither stops the duel. Lenski is killed. ACT III St. Petersburg. Having travelled abroad for several years since the duel, Onegin has returned to the capital. At a ball, Prince Gremin introduces his young wife. Onegin is astonished to recognize her as Tatiana and to realize that he is in love with her. Onegin has sent a letter to Tatiana. He arrives at the Gremin palace and begs her to run away with him. Tatiana admits that she still loves him, but that she has made her decision and will not leave her husband. Onegin is left desperate. —Reprinted courtesy of English National Opera

ACT I Isolde, an Irish princess, is being taken to Cornwall aboard the ship of Tristan, whose uncle, King Marke, plans to marry her. She becomes enraged by a sailor’s song about an Irish girl, and her maid, Brangäne, tries to calm her. Isolde interrogates Tristan, but he replies evasively. His companion Kurwenal loudly ridicules the Irish women and sings a mocking verse about Morold, Isolde’s fiancé, who was killed by Tristan when he came to Cornwall to exact tribute for Ireland. Isolde, barely able to control her anger, tells Brangäne how the wounded Tristan came to her in disguise after his fight with Morold so that he could be healed by Isolde’s knowledge of herbs and magic, which she learned from her mother. Isolde explains to Brangäne that she recognized Tristan, but her determination to take revenge for Morold’s death dissolved when he pleadingly looked her in the eyes. She now bitterly regrets her reluctance to kill him and wishes death for him and herself. Brangäne reminds her that to marry a king is no dishonor and that Tristan is simply performing his duty. Isolde maintains that his behavior shows his lack of love for her, and asks Brangäne to prepare her mother’s death potion. Kurwenal tells the women to prepare to leave the ship, as shouts from the deck announce the sighting of land. Isolde insists that she will not accompany Tristan until he apologizes for his offenses. He appears and greets her with cool courtesy. When she tells him she wants satisfaction for Morold’s death, Tristan offers her his sword, but she will not kill him. Instead, Isolde suggests that she and Tristan make peace with a drink of friendship. He understands that she means to poison them both, but still drinks, and she does the same. Expecting death, they exchange a long look of love, then fall into each other’s arms. Brangäne admits that she has in fact mixed a love potion, as sailors’ voices announce the ship’s arrival in Cornwall. ACT II In the garden of Marke’s castle, Isolde waits impatiently for a rendezvous with Tristan, while distant horns signal the king’s departure on a hunting party. Isolde believes that the party is far off, but Brangäne warns her about spies, particularly Melot, a jealous knight whom she has noticed watching Tristan. Isolde replies that Melot is Tristan’s friend. She sends Brangäne off to stand watch and puts out the warning torch. When Tristan appears, she welcomes him passionately. They praise the darkness that shuts out the light of conventionality and false appearances and agree that they feel secure in the night’s embrace. Brangäne’s distant voice warns that it will be daylight soon, but the lovers are oblivious to any danger and compare the night to death, which will ultimately unite them. Kurwenal rushes in with a warning: the king and his followers have returned, led by Melot, who denounces the lovers. Moved and disturbed, Marke declares that it was Tristan himself who urged him to marry and choose the bride. He does not understand how someone so dear to him could dishonor him in such a way. Tristan cannot answer. He asks Isolde if she will follow him into the realm of death. When she accepts, Melot attacks Tristan, who falls wounded into Kurwenal’s arms. ACT III Back at his castle, the mortally ill Tristan is tended by Kurwenal. A shepherd inquires about his master, and Kurwenal explains that only Isolde, with her magic arts, could save him. The shepherd agrees to play a cheerful tune on his pipe as soon as he sees a ship approaching. Hallucinating, Tristan imagines the realm of night where he will return with Isolde. He thanks Kurwenal for his devotion, then envisions Isolde’s ship approaching, but the shepherd’s mournful tune signals that the sea is still empty. Tristan recalls the melody, which he heard as a child. It reminds him of the duel with Morold, and he wishes Isolde’s medicine had killed him then instead of making him suffer now. The shepherd’s tune finally turns cheerful. Tristan gets up from his sickbed in growing agitation and tears off his bandages, letting his wounds bleed. Isolde rushes in, and he falls, dying, in her arms. When the shepherd announces the arrival of another ship, Kurwenal assumes it carries Marke and Melot, and barricades the gate. Brangäne’s voice is heard from outside, trying to calm Kurwenal, but he will not listen and stabs Melot before he is killed himself by the king’s soldiers. Marke is overwhelmed with grief at the sight of the dead Tristan, while Brangäne explains to Isolde that the king has come to pardon the lovers. Isolde, transfigured, does not hear her, and with a vision of Tristan beckoning her to the world beyond, she sinks dying upon his body.

The Super Mario Galaxy Movie is an animated film based on the world of Super Mario Bros., and follows The Super Mario Bros. Movie, which was released in 2023 and earned more than $1.3 billion worldwide. Both the 2023 film and The Super Mario Galaxy Movie are produced by Chris Meledandri of Illumination and Shigeru Miyamoto of Nintendo. The film will be co-financed by Universal Pictures and Nintendo and will be released worldwide by Universal Pictures. The Super Mario Galaxy Movie is directed by returning filmmakers Aaron Horvath and Michael Jelenic, from a screenplay by returning screenwriter Matthew Fogel, with Brian Tyler returning to compose the score.

Mr. Pearson’s days in front of the camera may be a thing of the past, but the actor inside of him is very much alive. Caroline and Miguel split days and nights with legendary Hollywood actor Robert Pearson, a brilliant and talented gentleman battling mental decline. Despite their differences in approach to caring for the cantankerous man, both have the same goal of keeping him safe and connected. Miguel’s caretaking method is pretty straightforward as he spends most of his time with Mr. Pearson meeting his basic needs of eating, sleeping, and grooming. Caroline, on the other hand, has become more than a nurse. A maternal confidante and playful companion, Caroline stops at nothing to keep Mr. Pearson from slipping away, even if that means casting herself opposite the leading man to perform a scene from one of his hit movies from long ago. And it’s working. Their make-believe games cause Mr. Pearson to feel alive again, but as the line between fantasy and reality blurs, his grip loosens and Caroline’s gets tighter. Now, with everyone’s livelihood on the line, Miguel and Caroline must work together to save Mr. Pearson’s luminous star from fading to black.

Water Lilies by Monet – the Magic of Water and Light tells the story of the origin of a massive work of art that broke with convention, of an artist resurrecting his life only thanks to painting. His human endeavor defied both space and conventions in his timeless masterpieces. In a war-torn country, the undisputed genius of French Art disrupted the art world and changes it forever. As the end of the First World War drew near it became clear to Monet that his work of art could not but be his final legacyto France: a symbol of peace, hope, and resistance, in a battered and bloody world. This is the tale of an obsession with light and water the painter could not escape from and how he transformed it into a kind of magic. A tale of the radical elements that revolutionized Modern Art: Monet’s clear intentwas to transfer onto canvas the “first, pure impression” of forms and objects as they appear to the eye that has never seen them before. And this documentary will show the Water Lilies by Claude Monet, as they have never been seen before. A unique, exclusive look at the masterpieces housed at the Orangerie Museum, the Marmottan Museum, the Orsay Museum and Giverny, forthe firsttime ever on the big screen for an unrepeatable experience. Inspired by the international bestseller Mad Enchantment: Claude Monet and the Painting of the Water Lilies (2016) written byRoss King, also featured in the film.