A paranoid man embarks on an epic odyssey to get home to his mother in this bold and ingeniously depraved new film from writer/director Ari Aster. "Beau Is Afraid, an enveloping fantasy laced with mommy issues, is about being doomed from birth. It's Aster’s funniest movie yet."—RogerEbert.com "Perhaps the best comparison is to the Swedish comedies of Roy Andersson. It’s not that the laughter is set against the despair. It is the despair itself that is so funny – so absurd, so pointless, so pathetic...nobody can doubt [Aster's] commitment to the bit. This is a vast, generous, properly hilarious entertainment that will spawn debate for years to come. You may well hate it."—The Irish Times "Beau has been engineered to make indifference an impossibility. It’s a movie whose flaws are not only at least as interesting as its strengths, but may actually be the better reason to see it...Aster serves his neuroses straight up, and the result is a paradox: a film that’s suggestive or derivative of a dozen other titles yet unfolds as an original vision. It’s a movie that we haven’t seen before."—The Ringer

The tension is palpable, the excitement is mounting and the heady scent of competition is in the air as hundreds of eager contestants from across America prepare to take part in what is undoubtedly one of the greatest events of their lives -- the Mayflower Dog Show. The canine contestants and their owners are as wondrously diverse as the great country that has bred them.

The adventures of high school and junior high students on the last day of school in May 1976. The graduating class heads for a popular pool hall and joins an impromptu keg party, however star football player Randall "Pink" Floyd (Jason London) has promised to focus on the championship game and abstain from partying. Meanwhile, the incoming freshmen try to avoid being hazed by the seniors, most notably the sadistic bully Fred O'Bannion (Ben Affleck).

Josie (Rachael Leigh Cook), Melody (Tara Reid) and Val (Rosario Dawson) are three small-town girl musicians determined to take their rock band out of their garage and straight to the top, while remaining true to their look, style and sound. They get a record deal which brings fame and fortune but soon realize they are pawns of two people who want to control the youth of America. They must clear their names, even if it means losing fame and fortune.

"We've met before, haven't we?” Lost Highway, David Lynch’s seventh feature film, travels down a twisting road of perverse menace as a jazz saxophonist (Bill Pullman) and his wife (Patricia Arquette) begin receiving disturbing VHS tapes—leading to jealousy, murder, and a startling mid-act transformation that radically recontextualizes everything that came before it. Berserk violence, scrambled identities, a thunderous industrial soundtrack, and one of cinema’s most memorable Mystery Men (Robert Blake)—Lynch swirls it all into a screeching psychological manifestation of guilt, trauma, and denial that ranks among his most potent cinematic nightmares.

Fake it ‘til you make it. The latest gem from Amalia Ulman (El Planeta), Magic Farm takes us on a kaleidoscopic journey packed with twists and turns, cross-cultural encounters and true personalities. When a misguided American documentary crew in search of their next viral segment ends up in the wrong town in rural Argentina, chaos ensues. As they collaborate with locals to fake a new music trend, unexpected relationships form and an unfolding health crisis becomes apparent. Colorful and unfiltered, Magic Farm is led by a stellar ensemble including Chloë Sevigny, Alex Wolff and Simon Rex. Shot through with a vivid sense of place, this Berlinale and Sundance selection combines a surreal send-up of the media with a heartfelt exploration of humanity. "Ulman...shows a knack for droll humor, a soft spot for pretenders and a penchant for play...pairing the loose subject matter with a curlicued visual style."—NYTimes "A charming satire about the endless capacity for lying found in people who ostensibly devote their lives to telling the truth, Magic Farm...overflows with big ideas on topics ranging from exploitative media to the sexual politics of casual hookups to corporate farming and the health crises it creates."—IndieWire

A love story in the city of dreams . . . Blonde Betty Elms (Naomi Watts) has only just arrived in Hollywood to become a movie star when she meets an enigmatic brunette with amnesia (Laura Harring). Meanwhile, as the two set off to solve the second woman’s identity, filmmaker Adam Kesher (Justin Theroux) runs into ominous trouble while casting his latest project. David Lynch’s seductive and scary vision of Los Angeles’s dream factory is one of the true masterpieces of the new millennium, a tale of love, jealousy, and revenge like no other. Winner—Best Director at Cannes

Mary is a free-spirited young woman with a run-down New York apartment and a high fashion wardrobe. She calls her godmother, a librarian, for bail money after being arrested for throwing an illegal party. To repay the loan, she begins working as a library clerk. At first she hates it, but when challenged decides to master the Dewey Decimal System and become a great library clerk, while romancing a falafel vendor and helping her roommate in his goal to become a professional DJ. "Posey is something else altogether. She's a revelation."—Washington Post

A beautifully realized tale of civilization versus nature, Princess Mononoke is a true epic by Japan’s master animator Hayao Miyazaki. While protecting his village from a rampaging boar-god, the young warrior Ashitaka becomes afflicted with a deadly curse. To find the cure that will save his life, he journeys deep into the sacred depths of the Great Forest Spirit’s realm where he meets San (Princess Mononoke), a girl raised by wolves. It’s not long before Ashitaka is caught in the middle of a battle between iron-ore prospecting humans and the forest dwellers. He must summon the spirit-powers and all his courage to stop man and nature from destroying each other. In Japanese with English subtitles.

In 2003, eight young Rhode Islanders created a secret apartment in a hidden space inside the Providence Place Mall and lived in it for four years, filming everything along the way. They snuck in furniture, tapped into the mall's electricity, and even secretly constructed a brick wall with a locking door, smuggling in over 2 tons of cinderblock. Far more than just a wild prank, the secret apartment became a deeply meaningful place for all its inhabitants - a personal expression of defiance against local gentrification, a boundary-pushing work of public/private art, a clubhouse to coordinate their artistic charity, and finally, a 750 square foot space that sticks it to the man. Winner—Audience Choice Award at Sidewalk FF "A delightful, thought-provoking movie that’s about a lot of things at the same time. It’ll make you see the world with fresh eyes, and probably wonder why there isn’t more art in it."—RogerEbert.com

In an eerie, deceptively placid near-future, a techno-entrepreneur named Karsh (Vincent Cassel) has developed a new software that will allow the bereaved to bear witness to the gradual decay of loved ones dead and buried in the earth. While Karsh is still reeling from the loss of his wife (Diane Kruger) from cancer—and falling into a peculiar sexual relationship with his wife’s sister (also Kruger)—a spate of vandalized graves utilizing his “shroud” technology begins to put his enterprise at risk, leading him to uncover a potentially vast conspiracy. Written following the death of the director’s wife, the new film from David Cronenberg is both a profoundly personal reckoning with grief and a descent into noir-tinged dystopia, set in an ominous world of self-driving cars, data theft, and A.I. personal assistants. Offering Cronenberg’s customary balance of malevolence and wit, The Shrouds is a sly and thought-provoking consideration of the corporeal and the digital, the mortal and the infinite. "A brilliantly cerebral thriller about the physicality of grief"—IndieWire Critic's Pick