Doors/Preshow at 9 PM Purple Rain at 10 PM Countdown/Sign O' the Times at Midnight!

We are teaming up with our friends at Temescal Brewing to bring you Back to the Future on 35mm Film! Ticket includes 2 tasty Temescal Brews! (21+) A young man is accidentally sent 30 years into the past in a time-traveling DeLorean invented by his friend, Dr. Emmett Brown, and must make sure his high-school-age parents unite in order to save his own existence.

This engrossing Hindi police procedural is directed by Bikas Mishra and stars a forceful lead in Huma Qureshi as Rooni, a rookie detective taking on her first case. The film follows Rooni as she seeks to expose a cult leader accused of rape by an anonymous letter. But such is the fear he instills in his followers no one dares speak out. With grit and determination, she seeks justice encountering obstacles at every level in a small town somewhere in Rajasthan. Psychological tension, powered by fine performances, is further generated by the complex web of corruption Rooni meets as she delves deeper. Bayaan, which translates as testimony , is the challenge at the heart of this compelling film. Will anyone dare speak up? India 2025 (118 minutes)

Blue Road: The Edna O’Brien Story is a must-see for anyone who loves great stories and great characters. It’s not only that the Irish author Edna O’Brien is fascinating and worth a documentary—and a smart one at that by Sinead O’Shea. It’s that she was interviewed for this film when she was in her 90s, so we have a genius looking back over her whole life. She died in July 2024 at 93. O’Brien published her first novel, The Country Girls, in 1960 and was excoriated in Ireland because it portrayed sexual desire from a woman’s point of view. (The Mostly British festival is screening Girl With Green Eyes based on this partially autobiographical novel.) She married a writer, Ernest Gebler, who claimed he wrote her early books. She walked out on him in the middle of cooking dinner. In London she lived a glamorous life, mixing with Brando, McCartney, Sean Connery. Blue Road will reintroduce you to O’Brien and make you rush out for her books. Ireland and UK 2024 (99 minutes)

In a film inspired by a real- life phenomenon, Brides follows two alienated teenage girls, who lured by social media posts promising freedom, run away from Britain to marry Jihadis and join the Islamic State of Syria. It’s a complex, perceptive story of teenage friendship and disenchantment that also undoes many of our assumptions about those drawn to radical Islam activism. Newcomers Ebada Hassan and Safiyya Ingar are brilliant and heartbreaking as the teens confused by their emotions. When director Nadia Fall first read of the actual girls who, in 2015, left East London to join the so-called Brides of ISIL, she thought the media was too quick to dismiss them as terrorists. Her touching, surprisingly-good humored film, though fictionalized, is an attempt to understand the girls’ motivation and temper the rush to judgment. Teen Arena Jury Award for Best Feature, Sarajevo Film Festival. UK 2025 (93 minutes) BFI-Sponsored

When a hip-hop dancer accidentally walks into a dance class in Mumbai, his world opens up and a passion is born. The tough ballet master recognizes his talent and dares him to fulfill his dreams of dancing professionally – giving him the courage to defy family, culture and poverty.

In the class-obsessed and religiously divided UK of the early 1920s, two determined young runners train for the 1924 Paris Olympics. Eric Liddell, a devout Christian born to Scottish missionaries in China, sees running as part of his worship of God's glory and refuses to train or compete on the Sabbath. Harold Abrahams overcomes anti-Semitism and class bias, but neglects his beloved sweetheart in his single-minded quest.

Set in a working-class area of Cork, Christy is the portrait of a boy, not quite 18, pulled out of foster care for violence and returned temporarily to his older brother. Unable or more likely, unwilling to keep Christy, the brother and a social worker try to find him a new home. Played by Danny Power, who is riveting to watch, Christy doesn’t say much and has little agency over his own life. He gravitates towards a motley crew of new friends, one of whom in a wheelchair, likes his haircut and wants one, which he calls “the Christy.” Christy soon finds he has a talent with scissors and slowly discovers a new path. The power of this film – winner of the Grand Prix of the Generation section at the Berlin International Film Festival and Best Irish Film at the Galway Film Fleadh– is that you can’t predict where it is going. The fear is that Christy will sink back into violence. Skillfully directed by Brendan Canty, ultimately, it’s a hopeful look at circumventing difficult circumstances. Ireland 2025 (94 minutes)

There is a lot of skullduggery and plotting in Dead Man’s Money, which is director Paul Kennedy’s wonderful reworking of Shakespeare’s Macbeth set in Kenny’s Bar, somewhere in Northern Ireland. The dastardly deeds are set in motion when Young Henry (Ciarán McMenamin) and his wife Pauline (Judith Roddy) who run the pub, discover that Young Henry’s uncle, Old Henry has fallen for Widow Tweed. They worry their inheritance earned over years running the old man’s bar will now go to the Widow, reputedly a gold digger. After all, she has seen off three husbands! Enter the chauffeur, ex-IRA tough-guy, and over a drink or two or three, they plot her fate. This totally engaging black comedy (Coen brothers-style) captures the mood and spirit of Ireland. Shakespeare would smile. Ireland 2024 (82 minutes)

Depicts 8-year-old Bobo's life on her family's Rhodesian farm during the Bush War's final stages. It explores the family's bond with Africa's land and the war's impact on the region and individuals through Bobo's perspective.

Based on Niall Williams' best-selling novel. Nicholas and Isabel were made for each other but how will they ever know it? As ghosts, fate and the sheer power of true love pull them together, so too does life threaten to tear them apart.

In this heart-warming very funny film, a struggling gay writer (James McArdle) is forced to take care of four eccentric older women, including his own disabled mother (the wonderful Fionnula Flanagan) after friends dump their mums on him so they can swan off to Pride weekend in the tropics. The very opinionated and difficult women each have her own story to tell, and their host tries his best to accommodate them all the while dealing with his own anxiety issues. As Variety puts it, “Four Mothers earns itself a place in the mother-son pantheon… rare in its everyday tenderness, (it) sets the tone for a film packed with lovely, unforced observations.” Audience Award Best Feature BFI London Film Festival. Ireland 2025 (89 minutes)

Rita Tushingham’s eyes, enormous and tantalizing on screen, capture the mood of Edna O’Brien’s partially autobiographical novel The Lonely Girl (adapted in 1964 as Girl with Green Eyes) with her moody longing, adolescent neediness and endearing naiveté. Following her success starring in A Taste of Honey , she was perfect for the role of Kate as a country, convent girl new to Dublin and enthralled by an older man, Eugene, played with irresistible charm by Peter Finch. Lynn Redgrave in her first major role before Georgy Girl, is her irrepressible, talkative, flirty friend who steamrollers through life, in contrast to Kate who falters. She is too young and too much for Eugene. Filmed in black and white, the story unfolds through Kate’s eyes, those eyes that fixate and demand that you care. UK 1964 (91 minutes)

From Miguel Gomes, the award winning director of Tabu and Arabian Nights, comes a globe-trotting tale of unrequited love. Earning Gomes the Best Director prize at the 77th Cannes Film Festival, Grand Tour blends melodrama and screwball comedy in this cat-and-mouse chase between lovers. 1917, colonial Burma. Edward, a civil servant for the British Empire, jilts his lovestruck fiancée Molly the day she arrives to be married. As he escapes into an unexpected odyssey across Asia, she quickly follows suit amused by his moves. Rendered in stunning black-and-white period visuals interspersed with modern-day documentary footage, Grand Tour–Portugal’s Best International Feature entry to the 97th Academy Awards®–is a dazzling multi-city symphony that will leave audiences reeling with wonder.

From Academy Award® winning writer/director Chloé Zhao, HAMNET tells the powerful love story that inspired the creation of Shakespeare’s timeless masterpiece, Hamlet.

I Swear is the rudest movie of the century and it’s also funny with heartbreak along the way. At the end you’ll want two clean hankies. It’s based on the true story of John Davidson who has Tourette syndrome but doesn’t know it. Nobody in his Scottish town knows it and he becomes an outcast, considered insane. Tourette syndrome is a neurological disorder of involuntary movements (motor tics) and sounds (vocal tics). The phrase vocal tics is a polite way of saying Davidson curses all over the place, calling women bad names and even cursing out a judge. It’s not his fault. Game of Thrones’ Robert Aramayo plays Davidson with a mixture of bewilderment at his affliction, which leads to despair, depression and finally success. His portrayal is both heartbreaking and uplifting, a magnificent performance. Davidson’s father leaves the family because of him, but a sympathetic family takes him in, and he builds a life and ends up getting an MBE presented by the Queen. I Swear is full of dramatic tension and will make you feel awkward before it makes you feel very very good. UK, 2025 (120 minutes)

Whatever you might think of prison films, this one is an extraordinary don’t miss. The performances are searing: Guy Pearce, in top form as a gritty. life-worn mentor-like inmate; newcomer Vincent Miller, whose character is newly transferred from juvenile prison; and, in perhaps the most astonishing role, Cosmo Jarvis playing a felon who was locked up at age 13 for committing one of the most atrocious crimes in Australia’s history. Be forewarned, this film is not for the faint of heart. There’s one shocking scene that stays with you. But if you’re looking for authentic exceptional acting, you’ll find it here. IndieWire calls Inside “replete with moments of raw compassion.” Australia 2024 (104 minutes)

Here is Richard Burton before Liz. Before Cleopatra and a stretch of melodramas chosen so the couple could co-star despite playing roles distressingly below his talents. Burton flaunts his prodigious range as “angry young man” Jimmy Porter — Britain’s very own rebel without a cause– in a screen adaptation of John Osborne’s landmark play. He rages against England and his disillusionment with his dismal life, turning on his upper middle class wife (Mary Ure), with utter contempt for the opportunities she had that were denied him as a working-class lad. Finding temporary sexual solace in her wily girlfriend (a dynamic Claire Bloom), this film is far more than a romantic triangle. It is hard-hitting social realism illustrating the struggles for so many in post war 1950s Britain, and, many critics feel, Burton’s finest performance. UK 1959 (99 minutes)

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In the Welsh town of Port Talbot, 1942, Richard Jenkins lives as a wayward schoolboy, caught between the pressures of his struggling family, a devastating war and his own ambitions. However, a new opportunity arises when Richard’s natural talent for drama catches the attention of his teacher, Philip Burton.

The UK’s Best International Feature Film entry to the 98th Academy Awards® and recipient of the Caméra d’Or Special Mention at Cannes, Akinola Davis Jr.’s MY FATHER’S SHADOW is a poetic, tender portrait of father–son bonds. Framed by the political landscape of 1993 Lagos, the film follows a father and his two young sons as they journey into and around the vibrantly rendered Nigerian metropolis, quietly reckoning with their relationship while navigating a city on the precipice of democratic crisis. Brothers and collaborators Akinola Davis Jr. and Wale Davies bring us a groundbreaking feature debut – centering an award-winning performance by Sopé Dìrísù (Slow Horses, Gangs of London) – that reveals the profound depths of what families leave unspoken.

The Mostly British festival is thrilled to present the U.S. premiere of this special documentary offering so much joy as we watch local swimmers splashing about, loving, laughing and playing in the river. An environmental film for sure, Bristol’s clean water campaigners, passionate activists, gather data to pressure authorities to address the pollution in the river. We follow them recording powerful personal stories capturing the strong bond among the swimmers enjoying the quiet beauty of the Avon and surrounding land. Joining the community campaign, Lindsey the Mermaid swims the Bristol Channel (in her mermaid tail!!) to bring attention to the pollution and another woman “marries” the River Avon. Watching all sorts of folk diving in or gingerly inching into freezing water will make you smile, want to join them or at least hold out a warm fluffy towel! UK 2024 (84 minutes)

Here’s an example of the best kind of movie based on actual events. Firstly the real-life circumstances are inherently dramatic. An 89-year-old British veteran of D-Day escapes from a care facility to reunite with his fellow serviceman in Normandy for the 70th anniversary of the landings. The title slyly suggests our hero Bernard is more Steve McQueen than old codger. What makes The Great Escaper unforgettable is its portrayal of Bernard’s long-time marriage to his war-time sweetheart Irene, running parallel with his escapade. Played to heart-warming perfection by two-time Oscar winners Michael Caine and Glenda Jackson (in her final role), a poignancy and sweetness is conveyed as Irene frantically applies makeup lest Bernard see her “without my face” to her hiding his escapade from their caretakers despite being desperately worried. One scene lingers: The two watching the sunrise locked in an embrace, a ritual you sense they have long shared. UK 2024 (96 minutes)

In 1917, Lionel — a young, talented music student — meets David at the Boston Conservatory, where they bond over a deep love of folk music. Years later, Lionel receives a letter from David, leading to an impromptu journey through the backwoods of Maine to collect traditional songs. This unexpected reunion, ensuing love affair, and the music they collect and preserve, will shape the course of Lionel’s life far beyond his own awareness.

A woman, grieving her daughter's death in the Christchurch earthquakes, becomes a substitute teacher at an elite private school. Unexpectedly, she discovers students lacking guidance and care, prompting her to provide inspiration and support.

Tom Jones, abandoned as a baby in mysterious circumstances, is brought up by Squire Allworthy. Resented by Allworthy's legitimate heir Blifil, Tom grows into an amiable rascal, fond of the fair sex. He loves Squire Western's daughter Sophie, but when discovered by his tutors with a local girl Molly, he is banished by his benefactor.

Following up on Quant, her film about fashion icon Mary Quant, director Sadie Frost brings us this charming, feel-good documentary tracing Twiggy’s rise to supermodel of the swinging 60s with those huge eyes, under three sets of lashes and waif-like ingénue smile. Twigs, or Sticks as she was called growing up — names that morphed into Twiggy by the time she was 16– was born Lesley Hornby from Neasden, North London, working- class and unabashed about it. She was soon dubbed the “It Girl” and “The Face of 1966“ (The Daily Express). In this documentary, celebrities such as Joanna Lumley, Paul McCartney and Dustin Hoffman talk of her extraordinary rise, her truck-driver laugh and her matter-of-factness. At 22 she became a talented actress and singer, but the fixation was always on that look – her childlike, stick-thin, androgynous challenge to female body image. UK 2024 (94 minutes)

On the streets of London, Mike is hustling to get by. Roadside evangelizers won’t let him sleep in peace, his slippery friend won’t pay up the money he stole, and before long, he finds himself in trouble with the law. As he struggles to reintegrate into society, shuffling between gigs as a line cook and a trash collector, he must balance a newfound sense of community with his own itch for self-destruction.

Directed by Kelly Schilling, this debut feature is a road movie about a young woman, Chloe Bradley (Melina Vidler) who needs to escape from her chaotic life and also rescue her sick, alcoholic mother, Sharon Bradley (Marta Dusseldorp, beloved for the Australian drama series A Place to Call Home ) through their journey across gorgeous Australian countryside. Meeting Dalu Edozie (Albert Mwangi), a charming medical student from West Africa, seemingly mysterious, maybe untrustworthy, the film slowly becomes a delightful love story. Despite the set-backs and darkness of addiction, the film offers a journey towards healing and transformation. There is real depth to the performances, the relationship between mother and daughter softening while the charismatic Dalu holds them together. The film is ultimately hopeful, offering dignity and complexity to each character – and clearly authentic in that Schilling acknowledges it builds on her personal experience. Australia 2025 (113 minutes)