CITY WIDE FEVER by Josh Heaps, produced by GUY MADDIN. Sam, a young film student, discovers a USB detailing the life and career of forgotten Italian horror director Saturnino Barresi. As she begins to investigate his mysterious disappearance, Sam finds herself pulled into a violent conspiracy eerily similar to those of the films she adores. City Wide Fever is a modern giallo film starring a number of familiar faces, including Larry Fessenden, Ian Fidance, Michael M. Bilandic, and Carolyn Farina. “We chose to shoot on a Mini DV camera to get a gritty 2000s vibe. Euro horror with a necessary 21st century update.”

Filmmaker and Nazi propagandist Leni Riefenstahl is considered one of the most controversial women of the 20th century. Her films Triumph of the Will and Olympia are defined by their fascist aesthetics, perfectly-staged body worship, and the celebration of all that is "superior" and victorious, simultaneously projecting contempt for the imperfect and weak. But Riefenstahl – who first broke into the German film industry as an actress – spent decades after the war denying her association with Nazi ideology, and claiming ignorance of the Holocaust. How did she become the Reich's preeminent filmmaker if she was just a hired hand? Riefenstahl examines this question using never-before-seen documents from Leni Riefenstahl's estate, including private films, photos, recordings and letters, uncovering fragments of her biography and placing them in an extended historical context. During her long life after the fall of Nazism, she remained unapologetic, managing to control and shape her legacy; in personal documents, she mourns her "murdered ideals." Meanwhile, her work would experience a renaissance, gaining esteem for its masterful technical skill. Today, Riefenstahl's aesthetics are more present than ever. Is that also true for their message? In an era where fascism is on the rise again, fake news is prevalent, and the meaning of political imagery is constantly dissected and debated, Andres Veiel's mesmerizing new film shows that Leni Reifenstahl is more relevant than ever.

THE FRIENDS by Shinji Somai (1994 restored 2024) It’s the dog days of summer vacation. Up to no good, a group of three wily young friends discover a decrepit house and the old coot who lives there all alone. They begin to spy on him, expecting to find his corpse when he dies. But soon, as they learn the sad story behind his present wretchedness, the boys develop a touching bond with the old-timer. They even help replant his overgrown garden. Shinji Somai’s follow-up to his acclaimed Moving is a comic spectacle of movement and play and a stirring contemplation on time’s ravages and delights. Evoking other preteen anarchist masterpieces like Typhoon Club and P.P. Rider, the film is another testament to Somai’s singular ability to enter into the unruly world of children, using his liberated long takes to stir up the energies of a raucous ensemble of first-time performers.

An acid-scarred composer has his dwarf helper bring an opera singer to his London sewer hide-out.