Ernest is a wayward twentysomething living in Vancouver. Stuck in a rut after a breakup and grieving a recent family tragedy, he does whatever he can to avoid confronting his family.

In an Italian seaside town, young Titta gets into trouble with his friends and watches various local eccentrics as they engage in often absurd behavior. Frequently clashing with his stern father and defended by his doting mother, Titta witnesses the actions of a wide range of characters, from his extended family to Fascist loyalists to sensual women, with certain moments shifting into fantastical scenarios.

When three American doctors-Palestinian, Jewish, and Zoroastrian-enter Gaza to save lives, they find themselves caught between medicine and politics, risking everything to expose the truth.

ASHIMA follows elite rock climber Ashima Shiraishi as she travels to South Africa to attempt to become the youngest climber to master one of the world’s most challenging climbs. Accompanying Ashima is her father and coach Poppo, a former avant-garde dancer who brings an eccentric, tough-love approach to Ashima’s training. Examining the sacrifices required to achieve at the highest level and the complex relationship between immigrant parents and their children, ASHIMA is an intimate coming-of-age story about climbing, family, and the pursuit of the American Dream.

Pioneering lesbian filmmaker, former San Franciscan, and Frameline Award winner Barbara Hammer takes center stage in Brydie O’Connor’s Teddy Award-winning debut feature. When Hammer came out as a lesbian in the ‘70s she “took off on a motorcycle with a super-8 camera,” leading to groundbreaking queer and experimental works like Dyketactics (1974) — one of the first-ever lesbian films — and, later, her celebrated first feature, Nitrate Kisses (1992). Throughout her monumental career, Hammer made over 90 moving-image works that often centered on her own life, body, and lovers — a monumental decision when such life-affirming, honest depictions of sapphic people were scarce. Bolstered by exquisitely edited archival footage, this beautifully intimate documentary assembles an equally lyrical portrait of the visual poet, illuminating how Hammer’s legacy continues to inspire artists and preserve our shared histories. At the same time, it never loses sight of the ambitious, funny, bold, and joyful woman at its center.

The feature debut from Bad Bunny collaborator STILLZ and featuring the first original score by Arca, BARRIO TRISTE is a generational portrait of Colombia’s forgotten youth, both personal and specific in its perspective, yet unclassifiable in its formal audacity. Accentuated by Arca’s intense, shape-shifting sonic palette, STILLZ boldly navigates the liminal spaces between despair and transcendence in “one of the year’s great debuts.” (The Film Stage)

Freshman Sid Lucero (Mark Gil, in his breakout performance), desperately wants to join the Alpha Kappa Omega fraternity. Over the course of a gruelling initiation process, he goes through every humiliation to please his “masters” — even as their treatment veers into increasingly fascistic, cult-like territory. Overt echoes of Stanley Kubrick’s A Clockwork Orange and John Carpenter abound in De Leon’s claustrophobic college drama: a film that subverts expectation by casting college life in a sinister blood-red light. An urgent reaction to Ferdinand Marcos’ rule through Martial Law at the time, Batch ’81 burns bright today as De Leon’s angriest and most direct film — asking hard questions about masculinity, indoctrination, free will and the banality of evil, most insidious when disguised as brotherhood, responsibility or duty. Raising uncomfortable truths about class aspirations and privilege in the Philippines — and the world at large — Batch ’81 is as timely and necessary as it has ever been, presented in its 4K restoration commissioned by the Asian Film Archive and L'Immagine Ritrovata.

Nina (Portman) is a ballerina in a New York City ballet company whose life, like all those in her profession, is completely consumed with dance. She lives with her obsessive former ballerina mother Erica (Hershey) who exerts a suffocating control over her. When artistic director Thomas Leroy (Cassel) decides to replace prima ballerina Beth MacIntyre (Ryder) for the opening production of their new season, Swan Lake, Nina is his first choice. But Nina has competition: a new dancer, Lily (Kunis), who impresses Leroy as well. Swan Lake requires a dancer who can play both the White Swan with innocence and grace, and the Black Swan, who represents guile and sensuality. Nina fits the White Swan role perfectly but Lily is the personification of the Black Swan. As the two young dancers expand their rivalry into a twisted friendship, Nina begins to get more in touch with her dark side - a recklessness that threatens to destroy her.

Every year, the best under-18 braille readers and writers in the English-speaking world come to Los Angeles to compete in the Braille Challenge. For one weekend, these blind and low-vision kids aren’t the minority in the room as they make new friends, go head-to-head against old rivals, and strive for the rare opportunity to be recognized for something beyond their disability. Empowering them to become filmmakers, BRAILLED IT gives these kids cameras and has them document the event on their own. Their often-disorienting cinematography challenges sighted audiences to follow the action on their terms, with audio description and binaural sound helping audiences understand this unique cinematic world through non-visual cues. Ultimately, the kids’ honest, personal, and emotional footage makes the human drama of their experience—and the true power of literacy—accessible for all.

Oscilloscope Laboratories presents a compilation of the latest and best cat videos culled from countless hours of unique submissions and sourced animations, music videos, and classic internet powerhouses.

International superstar Maggie Cheung (In the Mood for Love) embodies tragic screen siren Ruan Lingyu, known as the "Greta Garbo of China," in this unconventional biopic by Hong Kong New Wave master Stanley Kwan (Rouge). Praised for her moving and emotive onscreen presence, Ruan’s private life, which was frequent fodder for the vicious Shanghai tabloids, began to mirror the melodramas which brought her fame, culminating in her suicide at age 24. Kwan and Cheung paint a kaleidoscopic yet intimate portrait of the ill-fated actress, deftly blending lush period drama, archival footage, and metatextual documentary sequences of Cheung reflecting on Ruan’s legacy. The result is, much like the films of Ruan Lingyu themselves, “tender, vivid and almost overwhelmingly moving” (Time Out). Presented by Fortune Star Media Limited, the restoration of the film was carried out from the original 35mm picture and optical soundtrack negative. The prints were repaired, cleaned and scanned in Hong Kong, then digitally restored in 4K resolution in Bologna, Italy by L'Immagine Ritrovata. Endorsed by the director, Stanley Kwan, the color correction was completed by Interface Video Production Ltd in Hong Kong.

Professor Se Jeong, attends a biotech conference-only to witness it spiral into catastrophe when a rapidly mutating virus is unleashed. As the outbreak spreads and the infected begin to transform, authorities seal off the entire facility.

Plaid-skirted schoolgirls are groomed by a secret government agency to become the newest members of the elite national-defense group, D.E.B.S.

With this simultaneously harrowing and lyrical debut feature, Jan Němec established himself as the most uncompromising visionary among the radical filmmakers who made up the Czechoslovak New Wave. Adapted from a novel by Arnošt Lustig, Diamonds of the Night closely tracks two boys who escape from a concentration-camp transport and flee into the surrounding woods, hostile terrain where the brute realities of survival coexist with dreams, memories, and fragments of visual poetry. Along with visceral camera work by Jaroslav Kučera and Miroslav Ondříček—two of Czechoslovak cinema’s most influential cinematographers—Němec makes inventive use of fractured editing, elliptical storytelling, and flights of surrealism as he strips context away from this bare-bones tale, evoking the panicked delirium of consciousness lost in night and fog.

Fredric March and Miriam Hopkins (Design for Living) star in Robert Lewis Stevenson's classic horror tale of a kind and gentle doctor looking for a way to purge men of the evil in their nature . .. but who releases the monster within himself instead. Frederic March won the Academy Award for Best Actor for his performance.

Nothing else has ever looked or felt like director René Laloux’s animated marvel Fantastic Planet, a politically minded and visually inventive work of science fiction. The film is set on a distant planet called Ygam, where enslaved humans (Oms) are the playthings of giant blue native inhabitants (Draags). After Terr, kept as a pet since infancy, escapes from his gigantic child captor, he is swept up by a band of radical fellow Oms who are resisting the Draags’ oppression and violence. With its eerie, coolly surreal cutout animation by Roland Topor; brilliant psychedelic jazz score by Alain Goraguer; and wondrous creatures and landscapes, this Cannes-awarded 1973 counterculture classic is a perennially compelling statement against conformity and violence.

A Juilliard-trained baritone, Tim Blevins performed on the world’s most prestigious opera stages, tackling challenging roles with skill and power. A rare Black presence in a white-dominated art form, he rose to fame—but lost everything to addiction: his career, family, and home, leaving him unhoused in the Tenderloin. After decades in despair, Blevins takes control of his destiny, staging a comeback that restores not only his place on stage but also his role in his family’s life. Filmed with care and grace, this San Francisco-set tale of fame, loss, and redemption illuminates a life as remarkable as the operas he mastered. —Bedatri Choudhury

Amid stifling heat and pervasive drought, Isabel (Jorrybell Agoto), a 17-year-old Ilokana from the rural north, works at a posh country club outside Manila, lining up golf balls for powerful men to drive into the verdant horizon. New to the job, she wanders the immaculate grounds sampling its luxuries as members, including an industrialist and his expatriate niece, the club president and his pampered wife, and a slew of Chinese tourists, engage in a complex dance with the club’s doting and subservient staff. But something is rotting beneath the pristine fairways of the elite resort, as Isabel discovers when she tries to return a mislaid golf club to its patriarchal director, Dr. Palanca (Teroy Guzman). The deeper she journeys into its most exclusive corners, the closer she gets to the violent truths of the club, her native Philippines, and her own past..

"Rude in the way the truth is rude -- only funnier. The movie seduces with its humor, all the while presenting a realized vision of a harsh, absurd world." — Mick LaSalle, SAN FRANCISCO CHRONICLE Reese Witherspoon as potty-mouthed white trash Vanessa Lutz is among her most underrated roles. In this modern take on Little Red Riding Hood, Kiefer Sutherland plays the not subtly named Bob Wolverton, a serial killer who meets his match in Vanessa, a fifteen year old on her way to her grandmother’s after her parents are both arrested. Bob picks her up hitchhiking, gains her trust and then reveals himself - but Vanessa is sharp and quick, shooting him and leaving him for dead. Trouble is, he doesn’t die, and instead she finds herself on trial. Can this bad behaving juvenile delinquent win against a well-respected school counselor? You better believe she won’t go down without a fight! Written and directed by Matthew Bright, best known as the screenwriter for FORBIDDEN ZONE, FREEWAY is impressive and often hilarious with a great support cast including Brooke Shields, Amanda Plummer and Dan Hedaya. (Cristina Cacciopo)

An entire civilization must confront its destiny in alternative-animation pioneer René Laloux’s final feature, a cult classic of mind-bending science fiction. In a distant world, a merciless army of automata attacks Gandahar, turning its peace-loving people to stone. Hoping to discover the source of these Men of Metal, a council of matriarchs enlists the brave yet inexperienced warrior Sylvain (Pierre-Marie Escourro), who, while journeying through his planet’s outer regions, teams up with the Deformed, a race cast out from Gandahar after failed science experiments rendered them mutants. Soon, Sylvain learns that a gargantuan brain called Metamorphis (Georges Wilson) is responsible for his utopian society’s strife and—together with the beautiful Airelle (Catherine Chevallier)—travels through time to defeat him, in the process risking their lives and Gandahar’s very existence. Featuring stunningly surreal creatures and wondrously bizarre environments designed by renowned comic-book artist Caza, Gandahar is a visceral, visionary head-trip in which animation opens a gateway to the furthest reaches of the imagination.

“My codename is Project 2501, and I am a life form that was born in a sea of information.” In the year 2029, the world looks like a hybridization of Hong Kong, Tokyo, and New York, yielding to entropy and technocracy. Cyborg Major Kusanagi, a perfect specimen of human-brained computer engineering is on the case to track and destroy an omnipotent entity known as The Puppet Master—a hacker? a virus?—who threatens world order. Her physical and existential journey deftly detailed by Oshii’s animation, combining traditional hand-drawn cells and computer-generated graphics, creating a haunting, awe-inspiring magnum opus.

Taking its title from an archaic Japanese word meaning "ghost story," this anthology adapts four folk tales. A penniless samurai marries for money with tragic results. A man stranded in a blizzard is saved by Yuki the Snow Maiden, but his rescue comes at a cost. Blind musician Hoichi is forced to perform for an audience of ghosts. An author relates the story of a samurai who sees another warrior's reflection in his teacup.

Taking its title from an archaic Japanese word meaning "ghost story," this anthology adapts four folk tales. A penniless samurai marries for money with tragic results. A man stranded in a blizzard is saved by Yuki the Snow Maiden, but his rescue comes at a cost. Blind musician Hoichi is forced to perform for an audience of ghosts. An author relates the story of a samurai who sees another warrior's reflection in his teacup.

Part of our series Wild, Weird, Wicked: Films from Before the Code! Virtually unseen for over 90 years, in a sparkling new 4k restoration from Warner Brothers! A socialite begins a shipboard romance with a wealthy man, but is blackmailed by a former lover.

Carmen and Lourdes work in Tijuana’s maquiladoras, the multinationally-owned factories which came to Mexico for its cheap labor. Each day these factory workers confront labor violations, environmental devastation and urban chaos — life on the frontier of the global economy. In MAQUILÁPOLIS, Carmen and Lourdes reach beyond the daily struggle for survival to organize for change: Carmen takes a major television manufacturer to task for violating her labor rights. Lourdes pressures the government to clean up a toxic waste dump left behind by a departing factory. The women also use video diaries to chronicle their lives, their city and their hopes for the future. As they work for change, the world changes too: global economic crisis and the availability of cheaper labor in China begin to pull the factories away from Tijuana, leaving Carmen, Lourdes and their colleagues with an uncertain future. As promotoras – community advocates who fight for social justice – Carmen and Lourdes serve as role models for taking action in the face of adversity. The struggle for equitable labor practices on both sides of the border continues today, and MAQUILÁPOLIS remains as powerful an exploration as ever, twenty years after its premiere.

If poetry had a pop icon, Mary Oliver would be it. Celebrated best-selling poet, Pulitzer Prize-winner, lover of dogs and long walks in the woods, openly queer but intensely private, Oliver was America’s unlikely contemporary mystic, stalking the ponds and forests of Cape Cod for nearly fifty years in order to open herself – and her readers – to the known and unknowable world. From a lonely childhood to literary fame, Oliver’s life was shaped by devotion to nature, paying attention, and the long journey toward learning to love and to be loved. Her poems inspire liberals and conservatives, atheists and believers, naturalists and urbanites, speaking directly to contemporary anxieties about attention, presence, and the human relationship with the natural world – issues that feel especially pressing in an era of climate crisis, digital distraction, and social fragmentation. Featuring interviews with her close friends, including John Waters, never-before-seen personal photos, notebooks, and correspondence from her archive, and recitations of her work by Stephen Colbert, Lucy Dacus, Steve Buscemi, and Oprah Winfrey, Mary Oliver: Saved by the Beauty of the World considers the poet’s long lifetime of work in context, capturing the uniqueness of her world and the natural beauty that inspired her.

25th Anniversary of Coffee & Language! Best known for his "audacious and skillful" (SF Chronicle) independent films, SF writer/director JP Allen, and his company Coffee and Language Productions, begin their 25th Anniversary celebration with their 11th feature film, MEMORIZING ALISON. Are you sure you know her? This slow-burn thriller starring Allison Ewing and JP Allen, explores the uncertainty of love and memory as a man questions everything he knows about his partner. This "romantic and mysterious" (SF Mission Local) film also stars Chopper Bernet, Janet Lynn Saunders, Erin Mei-Ling Stuart, and Jon Bowden, story by Cathy Montosa andJP Allen. Filmed in San Francisco, Olema and Point Reyes. Coffee and Language Productions recent films include Girl in Golden Gate Park, The Filmmaker, Love and Demons, Revisions and Centaur. Allen wrote, produced and acted a lead role in the film Stephanie's Image starring Academy Award Winner Melissa Leo. His first feature film, Coffee and Language, premiered at the Hamptons International Film Festival where it was nominated for the Golden Starfish Award, Best Screenplay and Best Cinematography. Other of the company's films screen locally in the following week as part of the 25th

Two pre-adolescent boys both experienced a strange event and later it affects their lives in different ways. One becomes a reckless, sexually adventurous prostitute, while the other retreats into a reclusive fantasy of alien abduction. Restoration Details: Digitally restored by the Academy Film Archive and UCLA Film & Television Archive in conjunction with Sundance Institute in 4K from the original 35 mm A/B camera negatives and original sound elements. The restoration was supervised by Gregg Araki at Resillion and Monkeyland Audio. The restoration was funded by the Academy of Motion Picture Arts and Sciences, mk2, Frameline, Sundance Institute, and UCLA Film & Television Archive, with additional funding and services by Antidote Films and Strand Releasing.

A retired pop singer turned actress' sense of reality is shaken when she is stalked by an obsessed fan and seemingly a ghost of her past.

At an all-girls school in Switzerland, Christa Storm (Dorothy Wilson) is a star pupil and stroke seat on the rowing team, but her clandestine affair with a young chemist from another college leads her into trouble when she discovers she’s pregnant. As Christa’s attention in school slips, she incurs the discipline of the team’s steely coach, Hannah (Kay Johnson), who removes her from the boat and threatens expulsion. Worse, Christa’s businessman father (Walter Connelly) objects to marriage between Christa and David over concerns that David’s studies doom him to a life of poverty. How will Christa and her coming baby keep an even keel through all this choppy water?

Margot Benacerraf's extraordinary Araya, from the moment of its premiere at the Cannes Film Festival in 1959 (where it shared the FIPRESCI award with Hiroshima mon amour), was immediately heralded as one of the most visually stunning documentaries ever produced. The titular Venezuelan peninsula is known, if at all, for its desolate remoteness and its ample salt marshes. The salineros [salt workers] work there by hand, as they have for centuries. Little has changed since the Spaniards first arrived in the 1500s.

Dakan follows two young men, Manga and Sory, as they navigate young love of a kind their families cannot abide. Seen by Manga’s mother as a mental illness, and Sory’s father as a weakness to overcome, both men struggle to live the “right way”. Self-denial, tradition and superstition merge in attempts to rid the young lovers of their passions. This careful exploration of the realities of gay love in 1997’s Guinea depicts a milieu in which Manga and Sory’s contemporaries seem to understand and accept their gayness, while the older generation cannot, will not explore the possibility that their offspring might live lives outside of the ones set forth for them by their parents. Manga and Sory’s longing for each other, and pain at their separation, is depicted physically, making manifest the deep ache of young lovers wrested apart. Dakan is considered the first West Africa film to tackle the topic of homosexuality. It screened at Frameline in 1998, and won the Grand Jury Award for Outstanding Foreign Narrative Feature at L.A. Outfest the same year.

Sumitra Peries’s Gehenu Lamai [The Girls] —the first feature directed by a woman in Sri Lanka—is a close observation of a life shrinking. So much weight is placed on girls worldwide, and the girls of Gehenu Lamai are no different. Expected to care-give, earn, and behave respectably no matter the cost, the central girls of the film, sisters Kusum and Soma, bear much responsibility. Despite very different approaches to their constraints, some outcomes cannot be avoided.

Two legendary Thai actors, Sombat Methanee and Sorapong Chatree, form an unlikely duo of a wanderer on the run and reluctant monk, facing danger at every turn. Khom Akadet’s 1980s actioner is thrilling not only in its fight scenes, but also in the careful registers between.

Mexico’s legendary Calderon film empire's most famous and longest-running series was that of El Santo, the silver-masked wrestling hero (Rodolfo Guzman), who starred in some 50-odd productions from 1959 to the mid-1980s. But one of the most gonzo – and seldom seen – entries in the series is Los Leprosos y el Sexo with our hero battling a murderous mob of escaped lepers in a small town, resulting in a Western-cum-horror-cum-action picture, but with a twist.

Filmed in 1944 during Nazi occupation of Denmark, Mordets Melodi [Melody of Murder] explores the darker crevices of our world during a time of incalculable darkness. Directed by Bodil Ipsen — making her part of the small cadre of women credited with directing a film noir — the film follows the trail of a serial killer on the streets of Copenhagen, targeting women named Sonja. Due to a specific song always heard when the murders occur, suspicion falls on cabaret singer Odette Margot (Gull-Maj Norin), and she becomes unsure of her own role in these deaths. The rainswept, narrow streets of Copenhagen make for a perfect noir backdrop, depicting a labyrinthine underworld where a killer stalks their prey.

In My Name Ain't Suzie, Angie Chen offers a powerful rebuke to the colonial imagination of films such as The World of Suzie Wong (1960), bringing post-war Hong Kong to life on her own terms. Shui-Mei (Patricia Ha), a “salt water girl” from the outskirts of the city, finds a way out of poverty in the Red Light district of Wan Chai. Over the years, she rises through the ranks, discovering a world of equal hardship and sisterly camaraderie, where colorful characters abound – among them Jimmy (Anthony Wong, in his debut role), a mixed-race kid looking for his father in the crowd of thirsty American sailors.

In The Dislocation of Amber, director Hussein Shariffe uses abandoned areas of the Sudanese city of Suakin to stage abstracted, ambiguous performances. His actors move through corners, windows, doorways like shadows of this once thriving port, now fallen to ruin. Lacerating sunshine and intense color dominate the frame, while musician Abdel-Aziz Dawoud chants the words of the Sufi poem “The Wine Ode” by Ibn Al-Faridh. Shariffe himself said this about Suakin in 1974 — “Only faint traces of its ancient affluence are apparent today … a dimmed reflection in a cracked mirror; empty eyes with the stars in a different house, laughter in another room”.

Lewis Milestone’s extensive career was already at his peak when he directed The Garden of Eden in 1928. One year earlier he directed what would win the first Academy award for best comedy director Two Arabian Knights and in 1930 received a the Best Picture award for his all-time masterpiece All Quiet on the Western Front. In between he created the delightful The Garden of Eden, featuring the sparkling Corrinne Griffith as Toni, the niece of Viennese pretzel bakers who runs away to Budapest to seek fame as an opera singer.

Written and directed by Robert Wynne-Simmons (writer of folk-horror masterpiece Blood on Satan's Claw), and starring legendary Irish actors Cyril Cusack and Mick Lally, The Outcasts was the first major feature film funded in Ireland in forty years. Set in the earlier 1800s, an era of great poverty and no little superstition in pre-Famine Ireland, The Outcasts centers Maura (Mary Ryan), one of three daughters, a peculiar young woman largely ostracized by her rural irish community due to her "abnormal" behaviour. In great need of an ally, Maura aligns herself with the much feared Scarf Michael, whose power over the locals seems to tap into a world beyond our own.

Filmmaker Karen Sperling writes, directs, produces, and stars in The Waiting Room (1973), a groundbreaking film created by a 35-woman film crew who took over a deserted wing of a psychiatric facility on Manhattan’s Ward Island. This renegade psychodrama captures the depths of feminine ambivalence in the shadow of a looming specter — compulsory domesticity. The ‘waiting room’ manifests as quotidian and institutional anterooms in which a young woman mulls over a marriage proposal. Belonging squarely to the quasi Brechtian feminist avant-garde forged by Yvonne Rainer, Chantal Akerman, and Cecelia Condit, The Waiting Room has remarkably gone unseen for 50 years.

A landmark from the golden age of New Yugoslav Film (1963-1973), a compelling and underappreciated (at least in America) chapter in global film history. Aleksandar Petrović’s gripping Tri [Three] showcases the horror and absurdity of war through three interconnected tales, each examining moral choices under extreme pressure. Nominated for Academy Award for Best Foreign Picture (1966) and listed by the Yugoslav Film Institute as The Best Film in the history of the Yugoslav Cinema.

In the thirteenth century, a young man reluctantly joins the Teutonic order at the behest of his father. During his travels, he fraternises with a former combatant of the Crusades. However, life as a member of the order is not quite as it is popularly portrayed and the young knight opts to escape. His devoutly religious friend, however, wants him to return and will see to it that he does. Nothing good can come from these disagreements.

Live screening w/ a presentation by The Professors Of Urgh: Chaki & Chris Slusarenko (the hosts of A Very Opinionated Look At Urgh! podcast) The screening will feature a presentation by The Professors Of Urgh!, Chaki & Chris Slusarenko, who have amassed over 55 episodes about the wheres, whys, and hows of the epic 80s concert film, URGH! A MUSIC WAR, coming to light. Speaking with guests such as Lesley Woods of Au Pairs, Hugo Burnham of Gang Of Four, Stan Ridgway of Wall Of Voodoo & Steve Bartek of Oingo Boingo, they have gotten the history of this film and its artists firsthand. Plus, they will unlock the jaw-dropping secrets of the incredible ingontio, head-scratching band, Invisible Sex (HEAR INVISIBLE SEX SPEAK TO YOU!!!!). About URGH! A MUSIC WAR: Considered one of the most ground zero documents of the late 70s/early 80s New Music Scene, URGH! A MUSIC WAR has rarely been seen on the big screen. Featuring 34 bands ranging from the well-known (The Police, Devo, X, Joan Jett, XTC, The Go-Gos & Gary Numan) to the true underground (Dead Kennedys, Magazine, The Cramps, Pere Ubu, Au Pairs, Klaus Nomi), the film is beautifully shot and recorded, allowing each band to sound and perform completely authentically. About THE PROFESSORS OF URGH!: Chaki is a Los Angeles-based electro-funk artist, performer, and underground culture instigator blending heavy bass, synth-driven grooves, and a surreal, offbeat stage presence. He has toured with El Vez and Fishbone and opened for Parliament Funkadelic, as well as opening multiple dates on tour for Jerry Harrison and Adrian Belew’s Remain in Light touring band. His latest release, From L.A. to the Bay on High Occulture Records, is a career-spanning 12" featuring classic bangers and three new cuts. Beyond music, Chaki is the creator of the Punk Rock Graveyard Tour at Hollywood Forever Cemetery, a cult-favorite experience exploring the resting places and stories of punk and underground icons. He is also a recurring guest on The Best Show with Tom Scharpling, hosted by Tom Scharpling. Chris Slusarenko is the host of the top ten Apple Music Interview podcast, Revolutions Per Movie— a guest-driven podcast about music films with guests such as Peter Buck of R.E.M., icon Paul Williams, Spiral Stairs of Pavement, Ann Magnuson & Kevin McDonald of Kids In The Hall. A lifelong musician with albums on Sub Pop & Rough Trade, he has been a member of Guided By Voices and Eyelids, and has also been an independent video store owner for over 20 years.

This curated program of short films made from San Francisco-centric footage focuses on Chinatown, one of our city’s most beloved and documented neighborhoods. Program includes famous neon-lit scenes from feature films, home movie clips, and archival footage of the glowing neon nightscape of the mid-century nightlife. A featured presentation will be the backstory of the restoration of the Golden Star Radio neon sign and broadcast pioneers May Chin and Tommy Tong. An official event of the Neon Speaks Festival, produced and hosted by Al Barna and Randall Ann Homan of SFNeon.org.

After his family is murdered by a notorious and ruthless bandit, a former police officer enlists the services of two outlaws to capture the bandit.

Being connected to nature, what does it mean? Father knows and father shows. The director's father is 84. We follow in his footsteps into the mountain home. Into nature's smallest life and out to grand panoramas, where he grew up.

Visionary director Jane Schoenbrun (I Saw the TV Glow) presents a new kind of horror remake in TEENAGE SEX AND DEATH AT CAMP MIASMA. Bursting with imagination and surreal wit, their latest genre-bending wonder affirms there’s no such thing as a guilty pleasure. After years of slapdash sequels and waning fandom, the Camp Miasma slasher franchise is due for resurrection. And one young director (Hannah Einbinder) is more than up to the task. But when she visits the original's star, a now-reclusive actress (Gillian Anderson), the two women fall into a blood-soaked world of desire, fear, delirium — under threat from the spear-wielding Little Death. Winner of the Queer Palm, this transformative Cannes favorite leads its protagonists to true fulfillment, encouraging us to ask how we can reach our own.

Space travel has become a dirty way of life dominated by derelicts, grease monkeys, and hard-boiled interplanetary traders such as Samuel Curtis. Written, directed, and starring Cory McAbee of the legendary cult band The Billy Nayer Show, this sci-fi, musical-western uses flinty black and white photography, rugged Lo-Fi sets and the spirit of the final frontier. We follow Curtis on his Homeric journey to provide the all-female planet of Venus with a suitable male, while pursued by an enigmatic killer, Professor Hess. The film features music by The Billy Nayer Show and some of the most original rock n’ roll scenes ever committed to film.

An underdog American team competes for first place at France's Mondial du Fromage: the Olympics of cheese.

A newcomer to a Catholic prep high school falls in with a trio of outcast teenage girls who practice witchcraft and they all soon conjure up various spells and curses against those who even slightly anger them.

Explores the romantic journey of PK Mahanandia, a Delhi street artist who trekked 6,000 miles by bicycle in 1977, venturing across continents to reunite with the woman he loved.

While never-ending rain and a strange disease spread by cockroaches ravage Taiwan, a plumber makes a hole between two apartments and the inhabitants of each form a unique connection, enacted in musical numbers.

A young boy befriends a giant robot from outer space that a paranoid government agent wants to destroy.

A decade-long global journey chronicles the ever-changing record holders of the title of oldest person alive. What begins as a portrait of longevity becomes a meditation on the passage of time, the randomness of fate, and the joy and profound human experience of being alive. The oldest human being on the planet is not someone you encounter suddenly, nor someone you know for long. As the years go by, and Sam Green meets the next, and the next, oldest person in the world, his personal fascination with what the title means becomes entangled with his own experience of time, and the joys and pains of his own life. Green’s work has been a cornerstone of documentary filmmaking for a generation of artists. With one of his most intimate films yet, he returns to the Sundance Film Festival with his unique mixture of wry wit, earnest feeling, and formal play. In The Oldest Person in the World, the profound and silly experience of being alive is articulated in a way only film can do.

When Lord Murashige (Masahiro Motoki) rises up against the tyrannical Oda (Bando Shingo), he finds himself besieged within the walls of his own castle. Isolated, he is confronted with a series of mysterious crimes that shatter the fragile order of his court, plunging the fortress into fear and suspicion. With Oda’s army closing in and a traitor hiding among his ranks, Murashige is forced into an uneasy alliance with Kanbei Kuroda (Masaki Suda), a brilliant yet dangerous strategist held prisoner in the dungeon. Helped by his wife Chiyoho (Yuriko Yoshitaka) and his most loyal generals, Murashige must uncover the truth before the castle falls.

Piel, a 7 or 8 year old boy, is alone on the desert planet Perdide, only survivor of an attack by giant hornets. Calling for help, Piel's father's friend Jaffar keeps contact with the kid and hurries across space toward Perdide.

From Estadio GNP to the Big Screen: Zoé Presents ‘MEMOREX + REXSEXEX Y MÁS’ The legendary Mexican band continues to bring us unique experiences, this time through a film directed by Rodrigo Guardiola and produced by Olmo Guerra. Together, they revisit one of the most important chapters in Zoé’s history while offering a glimpse into the more human side of its members. After making history in Mexican rock with a legendary series of concerts at Estadio GNP Seguros, Zoé announces the premiere of ‘MEMOREX + REXSEXEX Y MÁS,’ a concert film that not only captures the emotional intensity of those unforgettable nights but also gives audiences a look into the band’s creative process and personal side. Directed by Rodrigo Guardiola and set to screen exclusively at Cinemex theaters, the film captures in epic fashion the connection Zoé has built with millions of people throughout more than two decades of their career. It combines the power of their live performances with intimate moments involving the band, as well as displays of affection and euphoria from their fans. Together, these elements create a unique portrait and offer a different perspective into the world of Zoé. In this way, ‘MEMOREX + REXSEXEX Y MÁS’ showcases the band’s remarkable ability to draw audiences, having sold out six shows at Estadio GNP while connecting with fans across multiple generations. At the same time, the film marks the beginning of a new chapter for Zoé, as they seek to expand their creativity into areas beyond music and live performances, establishing themselves as one of the most innovative projects on the global stage.