When his young daughter's beloved companion — an android named Yang — malfunctions, Jake (Colin Farrell) searches for a way to repair him. In the process, Jake discovers the life that has been passing in front of him, reconnecting with his wife (Jodie Turner-Smith) and daughter across a distance he didn't know was there.

In the midst of a series of unexplained events, electrical lineman Roy Neary encounters a UFO on a deserted road whilst investigating a large-scale power outage. Roy becomes increasingly obsessed with UFOs and subliminal messaging following his experience, distancing himself from his wife and children but drawing him closer towards parallel investigations being conducted by scientists, the military and other survivors of encounters who are attempting to communicate with the mysterious otherworldly presence.

Two acclaimed Cleveland-based artists with deep connections to the Cleveland Institute of Art—painter Dexter Davis and experimental filmmaker Robert Banks—are the subjects of “Color Me Boneface,” an exhibition on view at the Museum of Contemporary Art Cleveland through June 5. Longtime friends, sometime collaborators, and frequent mutual inspirations, Davis and Banks are not only displaying their work in the moCa gallery; they’re also creating some of it there. Working with students from Cleveland’s NewBridge Center for Arts and Technology, CIA, and CSU, Banks is creating a series of short films about Davis (or films inspired by Davis’ colorful, layered collages and drawings) as Davis proceeds to produce new creations in a studio set up by moCa for both men. Tonight, in collaboration with moCa, we kick off the final weekend of the exhibition with the world premiere theatrical screening of Robert Banks’ complete cycle of Dexter Davis-inspired short films—all of them projected from either 35mm or 16mm film prints. After the showing, both Banks and Davis will participate in a moderated conversation.

To avoid a potentially explosive scandal when the U.S. President goes into a coma, an affable temp agency owner with an uncanny resemblance is put in his place.

“Distant is an arthouse film par excellence, a consummately made study of loneliness and frustration…[It] is in the best tradition of serious, elegantly made Euro cinema, assembled with pristine professionalism.” So wrote Variety about the 2002 breakout work of Turkish master Nuri Bilge Ceylan, who went on to win the Best Director prize at Cannes for Three Monkeys in 2008 and the Palme d’Or for Winter Sleep in 2014. Produced, directed, written, shot, and co-edited by Ceylan, the profoundly beautiful (think Antonioni and Angelopoulos), wryly funny Distant focuses on Mahmut, a lonely and melancholy Istanbul photographer shattered by his ex-wife’s decision to move to Canada with her new husband. Things get worse when his gauche, dreamy, unemployed younger cousin from the sticks, Yusuf, comes to live with him while searching for work. The actors who play Mahmut and Yusuf shared the Best Actor prize at Cannes 2003.

With the closing of brothels and the outlawing of prostitution in 1958 Japan, a former streetwalker turns to “respectable” employment. But soon she finds she misses the freedom and money of sex work. One of the first Japanese films both written and directed by women, Kinuyo Tanaka’s complex treatment of a troubling subject is more empathetic than moralistic. The writer was Sumie Tanaka (no relation to Kinuyo), who also penned Forever a Woman.

Javier Bardem, who became a leading man and movie star after his performance in Jamón, Jamón, re-teamed with Bigas Luna on the director’s next film, the second part of his erotic, satirical “Iberian Trilogy.” Bardem plays a cocky, libidinous hustler who aspires to build the tallest skyscraper in Benidorm and will stop at nothing to get it up. Maribel Verdú (Y tu mamá también), Maria de Medeiros, and Benicio del Toro co-star.

Michelangelo Frammartino’s new film, like his 2010 masterpiece Le Quattro Volte (about a goatherd), is a near-wordless, sensory immersion in rural Italy, nature, and time. Set (like his previous work) in Calabria in southern Italy, Il Buco recreates a 1961 speleological expedition to the bottom of an unexplored, 2200-foot abyss, one of the deepest caves in the world. Frammartino poetically cross-cuts between the spelunkers’ careful descent into darkness with shots of the light-infused world of a weathered shepherd observing them above ground. “[A] masterful work of sound and sight…Breathtaking images…Best viewed in the darkness of a cinema.” –Hollywood Reporter.

A teenage Penêlope Cruz (in her feature film debut) stars with Javier Bardem and Stefania Sandrelli (The Conformist) in this vulgar, ribald Spanish melodrama, the first part of Bigas Luna’s “Iberian Trilogy.” Set in a small Spanish desert town, the movie chronicles how the mother of a wealthy young man sabotages her son’s relationship with a factory girl by hiring a hunky underwear model and aspiring bullfighter to seduce her away from him. The title translates as Ham, Ham and the movie conjoins human beings’ appetite for food with their desire for sex.

In 16th-century feudal Japan, Ogin, the daughter of Japanese tea ceremony master Sen no Rikyu, falls in love with Ukon Takayama (Tatsuya Nakadai), a Christian lord and samurai who is already married. Ogun tries to remain chaste and faithful to Ukon even as she marries a wealthy merchant and later becomes the shogun’s concubine. Kinuyo Tanaka’s final film as a director (her second in both color and Cinemascope) is another historical saga told from a feminine perspective.

Béatrice Dalle and Charlotte Gainsbourg star in this cheeky, assaultive art film by Gaspar Noé (I Stand Alone, Climax, Vortex). They play versions of themselves—two veteran performers who are acting in (or directing) a new movie about witches. But technical problems, interpersonal tensions, and emotional outbursts soon plunge the production into chaos. This film contains extended sequences of flashing lights that may adversely affect people with photosensitive epilepsy. Viewer discretion is advised.

From the extraordinary mind of Palme D’or winning director Apichatpong Weerasethakul, and starring Academy Award winner Tilda Swinton, comes a bewildering drama about a Scottish woman, who, after hearing a loud ‘bang’ at daybreak, begins experiencing a mysterious sensory syndrome while traversing the jungles of Colombia.

Multi-hyphenate, multidisciplinary artist Saul Williams brings his unique dynamism to this Afrofuturist vision, a sci-fi punk musical that’s a visually wondrous amalgamation of themes, ideas, and songs that Williams has explored in his work, notably his 2016 album MartyrLoserKing. Co- directed with his partner, the Rwandan-born artist Anisia Uzeyman, the film takes place amidst the hilltops of Burundi, where a collective of computer hackers emerges from within a coltan mining community, a result of the romance between a miner and an intersex runaway. Set between states of being—past and present, dream and waking life, colonized and free, male and female, memory and prescience—Neptune Frost is an invigorating and empowering direct download to the cerebral cortex and a call to reclaim technology for progressive political ends.

A sound technician for a news station (John Liu) becomes a vigilante ninja in New York City after his pregnant wife is murdered.

Vampire Count Orlok expresses interest in a new residence and real estate agent Hutter's wife.

Concert footage of The Clash at the height of their fame and influence (they’re captured at the 1978 Rock Against Racism concert, on tour, and in the studio) is the undeniable high point of this British docudrama that was disowned by the band. A gritty portrait of politically volatile, racially polarized London between the 1977 Silver Jubilee of Queen Elizabeth and the advent of 1980s Thatcherism, the film has a fictional framework focused on a young Clash fan who leaves his job at a Soho sex shop to become a roadie for the group. This new restoration is 6-15 minutes longer than the version of Rude Boy originally released in America.

In the world ravaged by the greenhouse effect and overpopulation, an NYPD detective investigates the murder of a big company CEO.

Little known in America, the third feature by French crime-movie specialist Jacques Deray (La Piscine, Borsalino) tells of a group of longtime, shady business partners who pool their resources on a lucrative drug deal. They are assured of a big payoff—enough to let them retire from running the dance hall/gambling den they own. But then one of them betrays the others… This gripping noir has an impressive cast (Jean Rochefort, Charles Vanel, Claude Dauphin), a script co-written by Claude Sautet, and cinematography by Claude Renoir.

Set during the 1960s, The Autobiography of Miss Jane Pittman focuses on a Southern Black woman (an extraordinary Cicely Tyson) whose long life has spanned slavery to the Civil Rights Movement. On her 110th birthday, she recounts to a reporter some of what she has witnessed over her 11 decades. Director John Korty, who died in March, was a maverick independent filmmaker who graduated from Antioch College in 1959, won an Oscar in 1978 for his documentary feature Who Are the DeBolts? And Where Did They Get Nineteen Kids?, and inspired both George Lucas and Francis Coppola by establishing his own film studio in the San Francisco Bay Area during the 1960s.

Quasar Wut-Wut, “Chicago’s #3 Band,” will appear in person to perform its original score to a silent melodrama that was thought lost until a complete, partially-tinted print turned up in The Chicago Film Archives in 2020. This 99-year-old Universal production has since been digitally preserved by The CFA, and the four members of Quasar Wut-Wut (who brought it back to life during the movie’s 21st-century premiere last September at Chicago’s Gene Siskel Film Center) are now bringing it to Cleveland! The First Degree tells of a man who is summoned to testify before a Grand Jury in a sheep-stealing case in which he was the victim. His proximity to the law prompts him to come clean on a different crime that he himself committed: the murder of his cruel half-brother, who tormented him for years (seen in an extended back story).

As her roommate Lisa prepares to move out of their apartment, Mara contemplates the end of an era. Furniture is moved, walls painted, cupboards built. Amid all the hustle and bustle, secret longings and desires come to the surface and coalesce around the roommates as well as around Lisa’s mother Astrid, the movers, the girls’ old neighbors, the neighbors’ cat, Lisa’s new neighbor and an ever-expanding cast of characters. Day turns into night and one final party in the apartment. When the last box is moved, the fragments of their lives remain. The Zürcher brothers compose a poetic panopticon of forms of human relationships that is at once a study of everyday life, a fairytale and a psychological portrait of a brittle world. Following The Strange Little Cat, The Girl and the Spider is the second installment in a trilogy about human togetherness, a ballad about the need for closeness and the pain of separation.

No movie changed Hollywood more than THE GODFATHER. From the bestselling novel by Mario Puzo to box-office blockbuster, its influential legacy endures to this day. Starring Marlon Brando in his Oscar®-winning performance as the patriarch of the Corleone family, this first installment in the three-movie saga paints a dramatic portrait of the Sicilian clan’s rise and near fall from power in America. Balanced between the Corleone’s commitment to family and the ugly crime business in which they are engaged, it features career-making performances by Al Pacino, James Caan, Talia Shire, Diane Keaton and Robert Duvall. This searing and brilliant masterpiece garnered ten Academy Award® nominations, and won three, including Best Picture.

Charismatic rancher Phil Burbank inspires fear and awe in those around him. When his brother brings home a new wife and her son, Phil torments them until he finds himself exposed to the possibility of love.

Mathilda May stars in the final part of Bigas Luna’s “Iberian Trilogy”. It’s the tender tale of a nine-year-old Spanish boy who still yearns for his mother’s breast, which is now monopolized by his baby brother. Jealous and frustrated, the child asks the moon for a teat of his own. His prayer is answered by the arrival of an itinerant French cabaret performer, but he soon discovers that two older males are also competing for her attention.

Follows Crista, Carloto and João who are building an airy greenhouse for butterflies in the garden and share household routines, but they are not the only ones.

The last days of an elderly couple stricken by dementia.