Voted SIGHT & SOUND'S #1 Film of the Year! The light, the lives, and the textures of contemporary, working-class Mumbai are explored and celebrated by writer/director Payal Kapadia, who won the Grand Prize at this year’s Cannes Film Festival for her revelatory fiction feature debut. Centering on two roommates who also work together in a city hospital—head nurse Prabha (Kani Kusruti) and recent hire Anu (Divya Prabha)—plus their coworker, cook Parvaty (Chhaya Kadam), Kapadia’s film alights on moments of connection and heartache, hope and disappointment. Prabha, her husband from an arranged marriage living in faraway Germany, is courted by a doctor at her hospital; Anu carries on a romance with a Muslim man, which she must keep a secret from her strict Hindu family; Parvaty finds herself dealing with a sudden eviction from her apartment. Kapadia captures the bustle of the metropolis and the open-air tranquility of a seaside village with equal radiance, articulated by her superb actresses and by the camera with a lyrical naturalism that occasionally drifts into dreamlike incandescence. All We Imagine as Light is a soulful study of the transformative power of friendship and sisterhood, in all its complexities and richness.

A wondrous journey, through realms natural and mystical, Flow follows a courageous cat after his home is devastated by a great flood. Teaming up with a capybara, a lemur, a bird, and a dog to navigate a boat in search of dry land, they must rely on trust, courage, and wits to survive the perils of a newly aquatic planet. From the boundless imagination of the award-winning Gints Zilbalodis (Away) comes a thrilling animated spectacle as well as a profound meditation on the fragility of the environment and the spirit of friendship and community. Steeped in the soaring possibilities of visual storytelling, Flow is a feast for the senses and a treasure for the heart.

Legendary filmmaker Mike Leigh returns to the contemporary world with a fierce, compassionate, and often darkly humorous study of family and the thorny ties that bind us. Reunited with Leigh for the first time since multiple Oscar-nominated Secrets and Lies, the astonishing Marianne Jean-Baptiste plays Pansy, a woman wracked by fear, tormented by afflictions, and prone to raging tirades against her husband, son, and anyone who looks her way. Meanwhile, her easygoing younger sister, played by Michele Austin (Another Year), is a single mother with a life as different from Pansy’s as their clashing temperaments - brimming with communal warmth from her salon clients and daughters alike. This expansive film from a master dramatist takes us into the intensities of kinship, duty, and the most enduring of human mysteries: that even through lifetimes of hurt and hardship, we still find ways to love those we call family.

BRAZIL, 1971 - Brazil faces the tightening grip of a military dictatorship. Eunice Paiva, a mother of five children is forced to reinvent herself after her family suffers a violent and arbitrary act by the government. The film is based on Marcelo Rubens Paiva's biographical book and tells the true story that helped reconstruct an important part of Brazil’s hidden history.

Best Picture Nominee - 97th Academy Awards RaMell Ross's astonishing adaptation of Colson Whitehead's novel about two Black teenagers at an abusive 1960s Florida reform school, combines riveting performances with a sincere, searching experimentalism in order to animate and confront memories of America's Jim Crow past. - Vadim Rizov, Filmmaker Magazine Elwood Curtis’s college dream shatters alongside a two-lane Florida highway. Bearing the brunt of an innocent misstep, he’s sentenced to the netherworld of Nickel Academy, a brutal reformatory sunk deep in the Jim Crow South. He encounters another ward, the seen-it-all Turner. The two Black teens strike up an alliance: Turner dispensing fundamental tips for survival, Elwood, clinging to his optimistic worldview. Backdropped by the burgeoning Civil Rights Movement, Elwood and Turner’s existence appear worlds away from Rev. Martin Luther King’s burnished oratory. Despite Nickel’s brutality, Elwood strives to hold onto his humanity, awakening a new vision for Turner. Further Reading: Based on the novel "Nickel Boys" by Colson Whitehead

NOTE: THE BRUTALIST runs for 3hr35min including a 15min INTERMISSION. Due to the film's length there will be NO PREVIEWS. The film will start promptly at the posted showtime. THIS IS THE CINEMATIC EVENT OF THE YEAR! PLAN TO COME EARLY TO GET THROUGH CONCESSIONS AND A GET THE SEATS YOU WANT! Runtime Breakdown: 1hr40min - 15min INTERMISSION - 1hr54min Total Runtime: 3hr35min It’s not the journey, it’s the destination. From writer-director Brady Corbet (Vox Lux, The Childhood of a Leader), winner of the Silver Lion for Best Director at the 2024 Venice Film Festival, comes the story of László Tóth, a Hungarian-Jewish architect who, after surviving the Holocaust, emigrates to the United States to begin a new life while awaiting the arrival of his wife, Erzsébet, trapped in Eastern Europe with their niece following the war. What László finds upon his arrival in the West is an America far different from the one he expected. The promise of the American Dream proves to be illusory as his stature and reputation as a successful architect in Budapest do not translate to his blue-blood Pennsylvania surroundings. Writer/Director, Brady Corbet and co-writer, fought tooth and nail to film this epic, Post-War immigrant story on VistaVision, Paramount's wide format film stock created in 1954. Other wider format, epic film stocks have been created since, but VistaVision is iconic and places the audience firmly in the period in which the story is set. To picture VistaVision think about the Technicolor vistas in John Ford's THE SEARCHERS (1956) or Alfred Hitchcock's VERTIGO (1958) and NORTH BY NORTHWEST (1959). For a film about an architect and his relationship to the massive architectural world around him, this monumental story requires such a format. One can set up the camera on the curb facing a building and catch the entire width of a skyscraper within the frame. VistaVision stopped being used in the US for principal photography only a few years after its first use in 1954, being used mainly for special effects process shots in the decades since (STAR WARS, INTERSTELLAR), but the stock was used more regularly outside the US, mainly in Japan. Before THE BRUTALIST, the last film to use VistaVision for its primary stock was THE END OF EVANGELION, a Japanese anime film released in 1997. In the US the last film to use VistaVision as its primary stock was MY SIX LOVES (1963) starring Debbie Reynolds...But VistaVision is back in stride this year for THE BRUTALIST as well as Paul Thomas Anderson's upcoming THE BATTLE OF BAKTAN CROSS (Working Title) starring Leonardo DiCaprio.