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Leonard Kraditor is a burned-out case, living with his immigrant parents after his fiancée left him, helping out at their Brooklyn dry cleaners, taking photographs, at loose ends, suicidal. In quick succession, he meets two women: Sandra, the daughter of his parents' business associates, frank, direct, sensual, Jewish like Leonard; and, his neighbor Michelle, mercurial, rootless, fun, blond, unattainable. Michelle is in love with a married man and cries on Leonard's shoulder; Sandra wants to save him. Is Leonard willing to risk losing Sandra's fidelity for the moments Michelle's moods swing toward him? Can this end well?

It's 1964, St. Nicholas in the Bronx. A charismatic priest, Father Flynn, is trying to upend the school's strict customs, which have long been fiercely guarded by Sister Aloysius Beauvier, the iron-gloved Principal who believes in the power of fear-based discipline. The winds of political change are sweeping through the community, and indeed, the school has just accepted its first black student, Donald Miller. But when Sister James, a hopeful innocent, shares with Sister Aloysius her guilt-inducing suspicion that Father Flynn is paying too much personal attention to Donald, Sister Aloysius sets off on a personal crusade to unearth the truth and to expunge Flynn from the school. Now, without a shard of proof besides her moral certainty, Sister Aloysius locks into a battle of wills with Father Flynn which threatens to tear apart the community with irrevocable consequences.

Smart-but-ineffectual journalist Dan "We use euphemisms!" cannot decide between his girlfriend, loving-but-clingy waitress Alice, or his lover cold-but-intellectual photographer Anna; herself indecisive between Dan and honest-but-thuggish "You're bloody gorgeous!" doctor Larry. The film puts the four leading characters in a box and strips them apart.

Adult siblings Sammy Prescott and Terry Prescott have had a special bond with each other since they were kids when their parents were tragically killed in a car accident. That bond is why single mom Sammy, who still lives in the family home in Scottsville, upstate New York with her eight year old son Rudy, is excited to hear that Terry, who she has not seen or heard from in a while, is coming home for a visit. That excitement is dampened slightly upon Terry's arrival, when she learns that he, broke, is only there to borrow money. As adults, Sammy, who works as a lending officer in the local bank, is seen as the responsible sibling, while unfocused Terry is seen as the irresponsible drifter. Regardless, Sammy welcomes what ends up being Terry's longer than planned visit if only so that he can help take care of Rudy, who has no adult male figure in his life. Rudy has never known his deadbeat biological father, with whom Sammy wants nothing to do. As Terry - acting as the supposed adult male role model figure - gets to know Rudy, and as Sammy deals with the issues in her life which includes figuring out what her relationship to longtime friend/lover Bob Steegerson means, and how to deal with her straight-laced micro-managing new boss Brian Everett, the maturity level between Sammy and Terry is not as far apart as it appears on the surface.

Following the economic collapse of a company town in rural Nevada, Fern (Frances McDormand) packs her van and sets off on the road exploring a life outside of conventional society as a modern-day nomad. The third feature film from director Chloé Zhao, NOMADLAND features real nomads Linda May, Swankie and Bob Wells as Fern's mentors and comrades in her exploration through the vast landscape of the American West.

Her family home in danger of being repossessed after her dad skips bail and disappears, Ozark teen Ree Dolly (Jennifer Lawrence) breaks the local code of conduct by confronting her kin about their conspiracy of silence. Should she fail to track her father down, Ree Dolly, her younger siblings, and their disabled mother will soon be rendered homeless.

Dean Pereira and Cindy Heller Pereira are a young, working class married couple - Dean currently working as a painter, and Cindy working as a nurse in a medical clinic - with a young daughter named Frankie. Despite their relatively tender ages, they are both ravaged by the life they've eked out together and by the experiences they've had leading into their marriage. Dean, a high school drop out, comes from a broken home, where he never really had a mother figure. He never saw himself getting married or having a family despite falling in love at first sight with Cindy. He doesn't have any professional ambition beyond his current work - which he enjoys since he feels he can knock off a beer at 8 o'clock in the morning without it affecting his work - although Cindy believes he has so much more potential in life. Cindy also comes from a dysfunctional family, with her own mother and father not setting an example of a harmonious married or family life. One of her previous serious relationships was with Bobby Ontario, that relationship which has a profound affect on many aspects of her marriage to Dean. Dean and Cindy head off on an overnight getaway together without Frankie, the getaway which may provide a clearer picture if their marriage can survive its many issues.

While growing up in the Great Depression era, Johnny Cash takes an interest in music and eventually moves out of his Arkansas town to join the air force in Germany. While there, he buys his first guitar and writes his own music, and proposes to Vivian. When they got married, they settled in Tennessee and with a daughter, he supported the family by being a salesman. He discovers a man who can pursue his dreams and ends up getting a record with the boys. Shortly after that, he was on a short tour, promoting his songs, and meets the already famous and beautiful June Carter. Then as they get on the long-term tours with June, the boys, and Jerry Lee Lewis, they have this unspoken relationship that grows. But when June leaves the tour because of his behavior, he was a drug addict. His marriage was also falling apart, and when he sees June years later at an awards show, he forces June to tour with them again, promising June to support her two kids and herself. While the tour goes on, the relationship between June and John grow more,and his marriage to his first wife ends. June finds out about the drugs, and help him overcome it. True love and care helped John eventually stop the drug usage, and finally proposes to her in front of an audience at a show.

The impressionistic story of a Texas family in the 1950s. The film follows the life journey of the eldest son, Jack, through the innocence of childhood to his disillusioned adult years as he tries to reconcile a complicated relationship with his father (

Gil and Inez travel to Paris as a tag-along vacation on her parents' business trip. Gil is a successful Hollywood writer but is struggling on his first novel. He falls in love with the city and thinks he and Inez should move there after they get married, but Inez does not share his romantic notions of the city or the idea that the 1920s were the golden age. When Inez goes off dancing with her friends, Gil takes a walk at midnight and discovers what could be the ultimate source of inspiration for writing. Gil's daily walks at midnight in Paris could take him closer to the heart of the city but further from the woman he's about to marry.

The 1950s. Manhattan lavatory attendant, Tom Ripley, borrows a Princeton jacket to play piano at a garden party. When the wealthy father of a recent Princeton grad chats Tom up, Tom pretends to know the son and is soon offered $1,000 to go to Italy to convince Dickie Greenleaf to return home. In Italy, Tom attaches himself to Dickie and to Marge, Dickie's cultured fiancée, pretending to love jazz and harboring homoerotic hopes as he soaks in luxury. Besides lying, Tom's talents include impressions and forgery, so when the handsome and confident Dickie tires of Tom, dismissing him as a bore, Tom goes to extreme lengths to make Greenleaf's privileges his own.

Ben and Leslie Cash live largely off the grid with their offspring -- Bodevan, Kielyr, Vespyr, Rellian, Zaja and Nai -- in a cabin in the mountains of Washington state. The parents have passed their socialist and survivalist ideals to their children. Ben considers most of Western society to be fascist, especially corporate America. He also believes that no one will or should be there for you, so you'd better learn how to take care of yourself. As such, the children have been subject to vigorous physical training; know how to deal with minor bumps, bruises, cuts, sprains, and even fractures; and know how to hunt, forage, and grow their own food. The children are also non-registered home schooled, meaning that they have no official academic records. Ben and Leslie have tried to make the children critical thinkers, however, within the context of their ideals. Beyond these issues, Ben and Leslie made the decision to live this lifestyle for Leslie's health. Formerly an attorney, Leslie was diagnosed as bipolar. Ben believes that this disorder started with her postpartum depression with Bo. Yet Leslie's condition has worsened. Despite not believing in Western medicine, Ben sends Leslie to a hospital close to Ben's sister, Harper, so that there can be family close by. While hospitalized, Leslie commits suicide. Beyond the collective grief, Leslie's act brings out a battle between Ben and Leslie's father, Jack Bertrang, a Christian who not only blames Ben for Leslie's death, but believes that what he is doing "to" the children can legally be considered abuse. Jack takes over the funeral arrangements as per his and his complacent wife Abby's Christian morals, against what Ben knows was Leslie's wishes, as she believed in Buddhist philosophies. Although Jack threatens to call the police if Ben shows up to the funeral, Ben and the children believe it is their mission to honor Leslie's last wishes to be cremated as per Buddhist philosophy. This mission not only may bring the divide between Jack and Ben to a head, but may also bring out some long dormant issues between the Cash children as they are exposed to commercial America in all its good and bad, and as Bo grows into manhood, he may have his own ideas of what he should do with the next phase of his life.

In the Yardley College, Gatsby Welles learns that his girlfriend Ashleigh Enright will travel to Manhattan to interview the cult director Roland Pollard for the college paper and he plans a romantic weekend with her. Gatsby is the son of a wealthy family in New York and Ashleigh is from Tucson and her father owns several banks. He has no attraction to study in Yardley but gambling and Ashleigh. When they arrive in Manhattan, Gatsby does not tell his parents that are planning a fancy party in the evening. Ashleigh meets Pollard and he invites her to a screening of his new film with his writer Ted Davidoff. Meanwhile Gatsby stumbles upon his friend, who is cinema student, and he accepts to participate in a kiss scene with Chan Tyrell, who is the younger sister of his former girlfriend. Along the rainy weekend in New York, Gatsby and Ashleigh have new experiences and discoveries.

24 hours in L.A.; it's raining cats and dogs. Two parallel and intercut stories dramatize men about to die: both are estranged from a grown child, both want to make contact, and neither child wants anything to do with dad. Earl Partridge's son is a charismatic misogynist; Jimmy Gator's daughter is a cokehead and waif. A mild and caring nurse intercedes for Earl, reaching the son; a prayerful and upright beat cop meets the daughter, is attracted to her, and leads her toward a new calm. Meanwhile, guilt consumes Earl's young wife, while two whiz kids, one grown and a loser and the other young and pressured, face their situations. The weather, too, is quirky.

Exactly one week in the life of a young man named Paterson of Paterson, New Jersey is presented. He lives an extremely regimented and routinized life, that routine perhaps most vividly displayed by the fact that he is able to wake up at exactly the same time every day without an alarm. That life includes eating Cheerios for breakfast, walking to work carrying his brown bag lunch packed in his lunch pail by his wife Laura, having a casual chat with his colleague Donny before he begins his shift driving the #23 Paterson bus for the local public transit company, walking home where he straightens out the exterior mailbox which somehow during the day gets knocked crooked, eating dinner with Laura and listening to her goings-on of the day, taking Laura's English bulldog Marvin - who he would admit to himself he doesn't much like - out for a walk to his neighborhood bar where he has one and only one beer before walking home with Marvin. There are day to day variations which are often the result of how certain other routines associated to him manifest themselves, such as what drama will occur in the relationship of Marie and Everett who are always at the bar together despite her always saying that they are no longer together, or in what form Laura's unique and distinctive design sense will affect Paterson's life directly or indirectly. Paterson's keen observances of what happens around him are largely the bases for the poems he writes, he constantly thinking of these and writing them in his secret notebook whenever he has a spare moment during his day. He is influenced by among others Paterson natives such as

Set in the glamour of 1950s post-war London, renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants, and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock's life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully tailored life disrupted by love.

A love story about people separated by time and place but connected in profound and mysterious ways. Atmospheric, fantastical, tragic and hopeful, the film chronicles the parallel fates of Jacqueline, a young mother with a disabled son in 1960s Paris, and Antoine, a recently divorced, successful DJ in present day Montreal. What binds the two stories together is love - euphoric, obsessive, tragic, youthful, timeless love. In 1960s Paris, a working class woman gives birth to her first child, Laurent - a Down Syndrome son. Undaunted she embraces the challenge of raising her beloved offspring as normally as one would any other child. Her husband abandons them both. She bravely brushes this additional hiccup aside as Laurent replaces her spouse as the perfect man of her dreams. As Laurent approaches school age Jacqueline's aplomb becomes obsessive and cloying. Her increasingly self-destructive attachment to her son is raised to a fever pitch when, at the age of seven, he meets a Down Syndrome girl (Véronique) and experiences his first crush. His sudden desire for independence, and his attraction to Véra, are the catalysts that transform Jacqueline from a loving mother into something resembling a lover scorned. What emerges is a love triangle of potentially tragic proportions. In 21st century Montreal, a forty year old divorcée, Carole, is trying to restart her life after her divorce, two years earlier, from Antoine, a devastatingly handsome, successful touring DJ. Soul mates who've been a couple since the age of fifteen, their divorce is a schism that might prove impossible for either of them to put in the past. Making the transition even more difficult for Carole is the fact that her two daughters, one teen, one tween, are about to gain a stepmother, a stunningly beautiful, heartbreaking blonde, a woman about to "steal" away the perfect man of her dreams. The young girls are being cruelly pulled in two different directions, Antoine's father, a recovering alcoholic, seems to side with his ex-daughter-in-law, and Carole is succumbing to fits of depression and potentially dangerous bouts of sleepwalking. What emerges is a love triangle of potentially tragic proportions.

1969. Dr. Malcolm Sayer is hired as a clinical physician at a local hospital in the Bronx, despite he only having a research background. The job is not ideal on his side as he has difficulties relating to people which is the reason he has focused on research projects not involving human subjects, while the hospital hires him somewhat out of desperation in not finding anyone else with the qualifications who wants the job. Most of his patients are in a semi-catatonic state and are housed in what some of the orderlies coin the "garden" ward, where all they can do for the patients is water and feed them. He notices that some of the patients, despite their generally catatonic state, respond in unusual ways to certain stimuli. In doing some research, he also finds that some common bonds between these patients are that they suffered from encephalitis in the 1920s or 1930s, and that their physical states are like they have Parkinson's disease frozen in time. As such, he is able to convince, albeit reluctantly, his skeptical boss, Dr. Kaufman, to administer an expensive experimental drug therapy on only one patient with family consent. That patient is forty-one year old Leonard Lowe, who has been in his current state since he was eleven years old, and who has been supported by his loving mother through all these years. As the drug therapy "awakens" Leonard, there are several issues that come into play. Malcolm has to try and convince Kaufman and the hospital administration to extend the therapy to the other patients. Despite not knowing the long term effects, Leonard, who was aware of his surroundings through his catatonic state, may have mixed emotions about his situation, wanting both to be treated as human being and an experiment guinea pig to ensure that what is happening benefits him and others in the long run. Mrs. Lowe may be unprepared for the new Leonard, she expecting who she remembers as a sweet eleven year old boy. Through all these issues, what may be the most illuminating issue for Malcolm is the need to stimulate the human spirit, including his own in dealing with people around him.