During a secretive business trip away, Mark learns that his wife Anna is growing restless in what he believed was their happy marriage. Upon his return home, he learns from her that she wants a divorce. They both go through a series of different emotions related to their situation, Mark's which is generally obsessive about learning why Anna, who he still loves, wants the divorce, and Anna's which is generally increasingly histrionic in getting away from Mark. Caught in the middle is their infant son Bob, who Mark uses as a gage to Anna's mental state. Anna states that her want for the divorce is not because of another man, but Mark finds out that Anna has a lover named Heinrich. In the meantime, Mark also meets Bob's teacher Helen, who looks exactly like Anna, but is her polar opposite in temperament. Starting a relationship with Helen lessens his obsession with Anna. But as Mark and Anna's encounters together reach more emotional and violent levels, Mark, with help of a private investigative firm, learns that Anna's love life is not all that it appears. Anna's true obsession has a somewhat gruesome process and nothing will stop her from reaching her end goal.

French film (dir. Andrzej Żuławski; 1981)

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

A young man -- starving, nearly catatonic and barely responsive -- is confined in a sanitarium. He is taken on a field trip along with other residents to the city's red-light district. There, he encounters by chance a woman from his past, triggering a series of flashbacks. We see that he was traumatized as a child, when he and his family were circus performers, and when he witnessed a murder/suicide: his father -- an American expatriate living in Mexico under suspicious circumstances -- cuts off the arms of his beloved mother, a possessive wife and religious fanatic who led a heretical church called "Santa Sangre (Holy Blood)," the members of which worshipped a martyred girl whose arms were severed by her father following her rape, and then commit suicide. Back in the present, buttressed by shock of his remembrance, he escapes the sanitarium and, in a series of hallucinations and dream-fulfillments, believes he has rejoined his armless mother. He "becomes her arms" and the "two" undertake a grisly campaign of murder and revenge.

CALL ME BY YOUR NAME, the new film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman. It's the summer of 1983 in the north of Italy, and Elio Perlman (Timothée Chalamet), a precocious 17-year-old young man, spends his days in his family's 17th-century villa transcribing and playing classical music, reading, and flirting with his friend Marzia (Esther Garrel). Elio enjoys a close relationship with his father (Michael Stuhlbarg), an eminent professor specializing in Greco-Roman culture, and his mother Annella (Amira Casar), a translator, who favor him with the fruits of high culture in a setting that overflows with natural delights. While Elio's sophistication and intellectual gifts suggest he is already a fully-fledged adult, there is much that yet remains innocent and unformed about him, particularly about matters of the heart. One day, Oliver (Armie Hammer), a 24-year-old American college graduate student working on his doctorate, arrives as the annual summer intern tasked with helping Elio's father. Amid the sun-drenched splendor of the setting, Elio and Oliver discover the heady beauty of awakening desire over the course of a summer that will alter their lives forever.

The story of Tom, who is in the grip of grief and depression following the death of his lover. When he meets the family of the deceased, it is revealed the mother was not aware of her son's sexual orientation, or his relationship with Tom either, for that matter.

Maria is 14 years old. Her family is part of a fundamentalist Catholic community. Maria lives her everyday life in the modern world, yet her heart belongs to Jesus. She wants to follow Him, to become a saint and go to heaven--just like all those holy children about whom she's always been told. So Maria goes through 14 stations, just like Jesus did on his path to Golgatha, and reaches her goal in the end. Not even Christian, a boy she meets at school, can stop her, even if in another world, they might have become friends, or even more. Left behind is a broken family that finds comfort in faith and the question, "Were all these events really so inevitable?" STATIONS OF THE CROSS is an indictment and, at the same time, the legend of a saint. It's a story of religion, devotion, and radical faith, and the film itself comes along just as radical as the subject matter, telling the story in only 14 fixed-angle long shots, allowing the viewer to contemplate the onscreen interactions in an entirely different way than in a traditional film.

"The time is now, a numbing and timeless present of hospital stays, bureaucratic questioning, and wandering through remembered spaces... and suddenly it is also then, the mid '70s and the time of Portugal's Carnation Revolution, when Ventura got into a knife fight with his friend Joaquim." This is the synopsis from the press notes. The film is a sequel of sorts to Costa's "Colossal Youth" with Ventura again playing himself.

Donald Koch, a.k.a. "Don", "King Don" and "Tiger", moves from Chicago to the suburbs since his wife Liz is pregnant and they believe the location is adequate to raise a family with children. Liz buys an old house and Don, who is unemployed, goes with his dog Cooper first to renovate the house. Soon he learns from his neighbor Ellie Mueller that the house was a brothel many years ago. Then he meets another neighbor, the sexy Sarah Yates, and they have sex in the house. When Sarah returns to visit him, he says that their affair was a mistake since he is married and asks her to not come back again. On the weekend, his friend Milo Stone comes to help Don in the renovation. But soon the house shows supernatural events and Milo, Don and Liz learn that the place is haunted with a sordid past.

The wife of a barbaric crime boss engages in a secretive romance with a gentle bookseller between meals at her husband's restaurant. Food, colour coding, sex, murder, torture, and cannibalism are the exotic fare in this beautifully filmed, but brutally uncompromising modern fable.

Beautiful, and with a loving boyfriend by her side, the Parisian marketing consultant, Esther, is a successful young woman who seems satisfied with her life, until a profound laceration in her leg caught her attention. Indeed, underneath this elaborate façade, Esther conceals a more compulsive self, who, little by little, begins to develop an enthralling and equally compelling fascination for the taste of her flesh, burrowing deeper and deeper into an unknown realm of self-mutilation and dreadful cannibalistic pleasure. Now--as the blind primitive impulses devour Esther--her ever-growing fits of fetishistic self-consuming rage, inevitably, will become noticeable to everyone, and above all, to her worried boyfriend. However, he, too, stands powerless before troubled Esther's unsatisfied cravings. How deep must she cut to discover the truth?

In an alternate version of Oakland, Cassius Green gets a telemarketing job and finds the commission paid job a dispiriting struggle as a black man selling to predominately white people over the phone. That changes when a veteran advises him to use his "white voice," and the attitude behind it to make himself more appealing to customers. With a bizarrely high-pitched accent, Cassius becomes a success even as his colleagues form a union to improve their miserable jobs. Regardless, Cassius finds himself promoted a "Power Caller" selling the most morally abhorrent but lucrative products and services as his connection to his girlfriend and colleagues fades away. However, Cassius' conscience arises anew as he finds himself in the midst of his boss' bizarre world of condescending bigoted decadence and his sinister plans to create the perfect subservient work force with Cassius' help.

Allan Gray arrives late in the evening to a secluded riverside inn in the hamlet of Courtempierre. An old man enters his room, puts a sealed parcel on the table, blurts out that some woman mustn't die, and disappears. Gray senses in this a call for help. He puts the parcel in his pocket, and goes out. Eerie shadows lead him into an old house, where he encounters a weird village doctor. The doctor receives a bottle of poison from a strange, old woman. Through the window of an old castle Gray recognizes the old man from the inn. A shadow shoots the man, who drops dead. Inside the house Gray finds his two daughters, Gisèle and Léone, and some servants. He opens the parcel, and finds an old book about vampires. Léone is seriously ill after being bitten by a vampire. Instead of helping her, the village doctor places the bottle of poison at her bedside table, and then abducts her sister Gisèle. An old servant starts reading the old book, and finds out that the vampire in Courtempierre is a dead woman called Marguerite Chopin. He goes to the cemetery, opens her grave and strikes a thick iron stick through her body. The curse is broken, Léone recovers, Gray liberates Giséle.

A young student seeks quiet and solitude to focus on an important work but ends up as the teacher of a peculiar boy who is home-schooled by his parents in an isolated bunker mansion. THE BUNKER is a dark, twisted, and funny tale about childhood, growing up and education.

"Safe" has been described as a horror movie of the soul, a description that director Todd Haynes relishes. California housewife Carol White seems to have it all in life: a wealthy husband, a beautiful house, servants, beauty, and a lot of friends. The only thing she lacks is a strong personality: Carol seems timid and empty during all of her interactions with the world around her. At the beginning of the film, one would consider her to be more safe in life than just about anyone. That doesn't turn out to be the case. Starting with headaches and leading to a grandmal seizure, Carol becomes more and more sick, claiming that she's become sensitive to the common toxins in today's world: exhaust, fumes, aerosol spray, etc. She pulls back from the sexual advances of her husband and spends her nights alone by the TV or wandering around the outside of her well-protected home like an animal in a cage. Her physician examines her and can find nothing wrong. An allergist finds that she has an allergic reaction to milk but explains that there is no treatment for that sort of allergy. She sees a psychiatrist who does nothing but make her nervous. In the hospital, Carol sees an infomercial for Wrenwood, a new-age retreat for those who are "environmentally ill," and leaves her husband and stepson to try and find salvation at this retreat: headed by a phony, grandstanding, "sensitive" individual named Peter Dunning.

A haunted young woman spirals in the wake of profound loss, torn between her fractured emotional state and the reality-altering effects of a potent cannabinoid drug.

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