The latest in existential deadpan from Sweden's Roy Andersson (YOU, THE LIVING, A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE). A kaleidoscope of the human condition in which inconsequential moments take on the same significance as historical events: a couple floats over a war-torn Cologne; on the way to a birthday party, a father stops to tie his daughter’s shoelaces in the pouring rain; teenage girls dance outside a cafe; a defeated army marches to a prisoner-of-war camp. Winner—Silver Lion for Best Director at Venice "[A] brief and brilliant vision of eternity."—IndieWire "In the world of About Endlessness, which is to say our world, you can head out to drown your sorrows and stumble right into a vision of the sublime."—Justin Chang, L.A. Times "Dreamlike and deliberate, pedestrian and theatrical, bland and strangely beautiful, About Endlessness takes in the suffering, struggle and moments of vagrant joy in life and propels them into the cosmos."—Ann Hornaday, Washington Post

The year is 1981 and South Africa’s white minority government is embroiled in a conflict on the southern Angolan border. Like all white boys over the age of 16, Nicholas Van der Swart must complete two years of compulsory military service to defend the apartheid regime. The threat of communism and “die swart gevaar” (the so-called black danger) is at an all-time high. But that’s not the only danger Nicholas faces. He must survive the brutality of the army – something that becomes even more difficult when a connection is sparked between him and a fellow recruit. "Hermanus’ masterpiece...[Moffie is] a scorching evocation of South Africa’s Border War shame with no major precedent in a national cinema still working through its blind spots."—Variety Critic's Pick "Somewhere between Full Metal Jacket and Beau Travail in how it juxtaposes masculine displays with their inherently homoerotic subtext."—IndieWire Critic's Pick "Moffie is measured, remorseless; it crawls right under your skin."—The Guardian

The remarkable untold story of electronic music’s female pioneers, composers who embraced machines and their liberating technologies to utterly transform how we produce and listen to music today. Narrated by Laurie Anderson, the film maps a new history of electronic music through the visionary women whose radical experimentations with machines redefined the boundaries of music and restored the central role of women in the history of music and society at large. The history of women is a history of silence. Until they insisted on being heard. Winner—CPH:DOX NEXT WAVE Award "Electrifying...feels less like a film and more like a manifesto."—RogerEbert.com "The energy, curiosity and enthusiasm for the medium is not just present in the sounds and the music, but in every image of Rovner’s stylish and uncompromising film about the liberating potential of art."—Sophie Brown, CPH:DOX "A cinematic experience that melds the visuals to the abstract, hallucinatory sounds of their compositions."—Los Angeles Time

The Killing of Two Lovers follows David, who desperately tries to keep his family of six together during a separation from his wife, Nikki. They both agree to see other people but David struggles to grapple with his wife's new relationship. The Hollywood Reporter calls the film “a transfixing drama without a wasted word or a single inessential scene.” 2021 Independent Spirit Awards Nominee—John Cassavetttes Award "Just about every era gets the great end-of-a-marriage movie it deserves...[The Killing of Two Lovers is a] tense, stripped-down, superbly acted drama about a family at a perilous moment of transition."—Justin Chang, NPR "[A] taut and absorbing portrait of marital discord, which reinvents the clichés of the dysfunctional family drama by making them thrilling to watch."—IndieWire Critic's Pick "Machoian suggests that a single day of experience can cover the worries of wrangling youngsters, the ache of troubled romance, and the wildest rage."—NYTimes Critic's Pick