Classics

This movie follows a teenager named Stevie growing up in Los Angeles. He's struggling with his family, including his co-dependent single mom and his abusive older brother, and at school, where his richer friends seem to overlook him. When Stevie befriends a crew of skateboarders, he learns some tough lessons about class, race, and privilege.

Collin (Daveed Diggs) must make it through his final three days of probation for a chance at a new beginning. He and his troublemaking childhood best friend, Miles (Rafael Casal), work as movers and are forced to watch their old neighborhood become a trendy spot in the rapidly gentrifying Bay Area. When a life-altering event causes Collin to miss his mandatory curfew, the two men struggle to maintain their friendship as the changing social landscape exposes their differences. Explores the intersection of race and class set against the backdrop of Oakland.

Connie Nikas forcibly removes his developmentally disabled brother Nick from a therapy session. The two rob a New York City bank for $65,000. In the getaway car, a dye pack explodes in a money bag, causing the driver to crash. Connie and Nick flee on foot, washing the dye from their clothes in a restaurant restroom. Stopped by police, Nick panics and runs; Nick is arrested while Connie escapes. Connie attempts to secure a bail bond, but needs $10,000 more to get Nick out of jail. He convinces his girlfriend, Corey, to pay with her mother's credit cards, but her mother cancels the cards. Connie learns that Nick has been hospitalized after a fight with an inmate.

After a long decade of total estrangement, grizzled Aunt Krisha shows up at her sister's home one fine Thanksgiving morning. Swearing she's got her act together now, Krisha is desperate to re-enter the family circle; however, wounded Krisha has deeply hurt people in the past. As a result, as her beloved ones greet her with a volatile mix of sympathy and wariness, right from the start, a corrosive undercurrent of silent discomfort permeates the multi-generational gathering. But Krisha is determined to let nothing stand in the way of reconciliation, so, without a second thought, she undertakes the crucial, risky task of cooking the turkey: her big chance to build a bridge. As heat caresses the turkey's crisp brown skin, wary glances and private conversations ratchet up the tension, and painful secrets come to light. Is the family's lost lamb ready to make up for lost time?

Love, life, and the struggles of a mother bringing up a son in the late 70's. The ignorance of a free spirit against the needs of a young man trying to find his true character and beliefs. Living in a bohemian household shared with three like minded spirited people to help pay the rent, his mother tries to establish bonds that he cannot deal with. She cannot deal with his inability to talk, and enlists the help of other females in his life to share the burden of his upbringing. Slowly life unravels for them all without understanding how. In spite of their perceived struggles, they all go on to live defined lives without any serious consequences.

In 1986, In Brooklyn, New York, the dysfunctional family of pseudo intellectuals composed by the university professor Bernard and the prominent writer Joan split. Bernard is a selfish, cheap and jealous decadent writer that rationalizes every attitude in his family and life and does not accept "philistines" - people that do not read books or watch movies, while the unfaithful Joan is growing as a writer and has no problems with "philistines". Their sons, the teenager Walt and the boy Frank, feel the separation and take side: Walt stays with Bernard, and Frank with Joan, and both are affected with abnormal behaviors. Frank drinks booze and smears with sperm the books in the library and a locker in the dress room of his school. The messed-up and insecure Walt uses Roger Water's song "Hey You" in a festival as if it was of his own, and breaks up with his girlfriend Sophie. Meanwhile Joan has an affair with Frank's tennis teacher Ivan and Bernard with his student Lili.

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.

Theater director Caden Cotard is mounting a new play. Fresh off of a successful production of Death of a Salesman, he has traded in the suburban blue-hairs and regional theater of Schenectady for the cultured audiences and bright footlights of Broadway. Armed with a MacArthur grant and determined to create a piece of brutal realism and honesty, something into which he can put his whole self, he gathers an ensemble cast into a warehouse in Manhattan's theater district. He directs them in a celebration of the mundane, instructing each to live out their constructed lives in a small mock-up of the city outside. As the city inside the warehouse grows, Caden's own life veers wildly off the tracks. The shadow of his ex-wife Adele, a celebrated painter who left him years ago for Germany's art scene, sneers at him from every corner. Somewhere in Berlin, his daughter Olive is growing up under the questionable guidance of Adele's friend, Maria. He's helplessly driving his marriage to actress Claire into the ground. Sammy Barnathan, the actor Caden has hired to play himself within the play, is a bit too perfect for the part, and is making it difficult for Caden to revive his relationship with the alluringly candid Hazel. Meanwhile, his therapist, Madeline Gravis, is better at plugging her best-seller than she is at counselling him. His second daughter, Ariel, is disabled. And a mysterious condition is systematically shutting down each of his autonomic functions, one by one. As the years rapidly pass, Caden buries himself deeper into his masterpiece. Populating the cast and crew with doppelgangers, he steadily blurs the line between the world of the play and that of his own deteriorating reality. As he pushes the limits of his relationships, both personally and professionally, a change in creative direction arrives in Millicent Weems, a celebrated theater actress who may offer Caden the break he needs.

From a screenplay by Shia LaBeouf, based on his own experiences, award-winning filmmaker Alma Har'el brings to life a young actor's stormy childhood and early adult years as he struggles to reconcile with his father through cinema and dreams. Fictionalizing his childhood's ascent to stardom, and subsequent adult crash-landing into rehab and recovery, Har'el casts Noah Jupe and Lucas Hedges as Otis Lort, navigating different stages in a frenetic career. LaBeouf takes on the daring and therapeutic challenge of playing a version of his own father, an ex-rodeo clown and a felon. Artist and musician FKA Twigs makes her feature-film debut, playing neighbor and kindred spirit to the younger Otis in their garden-court motel home. Har'el's feature narrative debut is a one-of-a-kind collaboration between filmmaker and subject, exploring art as medicine and imagination as hope.

Richard and Rachel, a couple in the throes of infertility, try to maintain their marriage as they descend deeper and deeper into the weird world of assisted reproduction and domestic adoption. When their doctor suggests third party reproduction, they bristle. But when Sadie, a recent college drop out, re-enters their life, they reconsider.

Tracy, a lonely college freshman in New York, is rescued from her solitude by her soon-to-be stepsister Brooke, an adventurous gal about town who entangles her in alluringly mad schemes. Mistress America is a comedy about dream-chasing, score-settling, makeshift families, and cat-stealing.

Halley lives with her six year old daughter Moonee in a budget motel along one of the commercial strips catering to the Walt Disney World tourist clientele outside Orlando, Florida. Halley, who survives largely on welfare, has little respect for people, especially those who cross her, it an attitude that she has passed down to Moonee, who curses and gives the finger like her mother. Although the motel's policy is not to allow long term rentals, Bobby, the motel manager, has made arrangements for people like Halley to live there while not undermining the policy as he realizes that many such tenants have no place to go otherwise. Halley, Moonee and Moonee's friends, who live in the motel or others like it along the strip and who she often drags into her disruptive pranks, are often the bane of Bobby's existence, but while dealing with whatever problem arises, Bobby has a soft spot especially for the children and thus, by association, their parents, as he knows that Moonee and others like her are just children acting like a children under whatever guidance they have, Moonee who has less guidance than most. Although there are some lines which he will not tolerate to be crossed, Bobby lets most of the disruptive things that they do go, largely as long as it does not affect the bread and butter of the motel, namely the tourist trade. The summer in this collective is presented, when Moonee and her friends, such as Scooty, are out of school and are left largely to their own devices while self-absorbed Halley does whatever she wants, often just staying in the room watching TV. Halley is supposed to look after Scooty, the son of Halley's friend Ashley, they who live in the unit immediately underneath Halley and Moonee's, while Ashley is at work at a local diner. In turn, Ashley pilfers cooked meals from the diner to feed Halley, Moonee and Scooty. Over the course of the summer, Halley systematically begins to alienate one by one the people who are her unofficial support by responding with that disrespect to anything she feels is against her. As such, Halley begins to take more and more extreme measures to maintain the life she leads with Moonee.

A woman breaks up with her boyfriend, he thinks it's because he's fat. A man is unable to tell her next door neighbor he finds her sexually attractive. An old couple wants to split up, but they don't want to get a divorce. A therapist masturbates to teen magazines. An 11 year old kid is insecure about the fact that he hasn't cum yet. Office workers try to recall the face of a coworker who recently died. A woman is sure she has everything she could ever want. The lives of these individuals intertwine as they go about their lives in their own unique ways, engaging in acts society as a whole might find disturbing in a desperate search for human connection.

Adult film director Jack Horner is always on the lookout for new talent and it's only by chance that he meets Eddie Adams who is working as a busboy in a restaurant. Eddie is young, good looking and plenty of libido to spare. Using the screen name Dirk Diggler, he quickly rises to the top of his industry winning awards year after year. Drugs and ego however come between Dirk and those around him and he soon finds that fame is fleeting.

We like Florence: she's considerate, sweet, pretty, and terrific with kids and dogs. She's twenty-five, personal assistant to an L.A. family that's off on vacation. Her boss's brother comes in from New York City, fresh from a stay at an asylum, to take care of the house. He's Roger, a forty-year-old carpenter, gone from L.A. for fifteen years. He arrives, doesn't drive, and needs Florence's help, especially with the family's dog. He's also connecting with former band-mates - two men and one woman with whom he has a history. He over-analyzes, has a short fuse, and doesn't laugh at himself easily. As he navigates past and present, he's his own saboteur. And what of Florence? is Roger one more responsibility for her or something else?

A headstrong Chinese-American woman returns to China when her beloved grandmother is diagnosed with terminal cancer. Billi struggles with her family's decision to keep grandma in the dark about her own illness as they all stage an impromptu wedding to see grandma one last time.

Ingrid Thorburn is an unhinged social media stalker with a history of confusing "likes" for meaningful relationships. Taylor Sloane is an Instagram-famous "influencer" whose perfectly curated, boho-chic lifestyle becomes Ingrid's latest obsession. When Ingrid moves to LA and manages to insinuate herself into the social media star's life, their relationship quickly goes from #BFF to #WTF.

Set in 1950s Montana, "Wildlife" shows and tells the drama and angst that a teenage boy, Joe, goes through, witnessing both his parents split up in his presence. His father, Jerry, loses his job. And though he was offered his job back, he refuses to take it back because he "won't work for those kind of people anymore". So instead, he takes a job fighting a forest fire, which his wife, Jeanette, is dead set against, both for safety reasons, and because she's convinced that he will be unfaithful while away. But he leaves anyway. And yet, without anything happening to him, or any evidence of hanky-panky on his part, she acts the way one would expect her to act had he perished in the fire, or if she had found out that he had been unfaithful while away. This fact causes Joe to acquire uneasy feelings toward his mother. His father does return however. But the three are no happier for it, as Jeanette has taken up with a new significant other in her life. And Jerry reacts furiously against this. The parents wind up separating as she moves to take up a teaching job in Oregon, while Joe continues to live with his father. And then, she suddenly announces that she's taking the bus to visit over the weekend. Perhaps in an odd way, this movie combines both a satisfactory and unsatisfactory ending.