Swinging between a touch too dramatic and utterly visceral, The Cut lands its fair share of punches.

Stranger Eyes asks for the viewer’s attention and perception, skews it, and then asks viewers to find the fine line between surveillance for the sake of safety and for the thrill of voyeurism.

Somnium is an unsettling look at the facade of Los Angeles and the way it can be molded to make or break a person’s spirit.

The Fantastic Golem Affairs is about connection in the purest sense. It asks us to view each other as our weirdest and most vulnerable selves to see if there’s still worth within us.

Toxic Avenger gives you the splattering brain matter, flying blood, and oozy, toxic heart on its sleeve. When you boil it all down, The Toxic Avenger (2023) is a movie about a dad trying to show his kid how much he loves him and taking down the corrupt American healthcare system along the way. Isn’t that what superhero movies should be all about?

Maybe that’s where the title of What We Hide comes from. We often hide our love when people hurt us or we hide our pain when we love someone. Neither is sustainable. Something has to break.

In Transit captures the loneliness of creation as it mixes with the hope that an act means more than it does.

The Knife is harrowing in its plausibility, redefining what it means to find the truth.

Keep Quiet shows the difficult task of finding a place in this world and demonstrates how easy it is for someone to take advantage of the innate human desire to belong.

Treading Water wants Danny, Laura, and the viewer to know that  community and human connection are the answer to the high tides of our lives.

The subjects in Mike Dorsey’s Sisters of Ukraine are proof that the lives of many can be changed by the courage, or the fear, of the few.

Scuba is a marvelous little wonder, much like life itself.

Freakier Friday isn’t the most egregious example of nostalgia-baiting, and the number of returning actors who came eager to play is a sign that Freaky Friday was something special.

Weapons proves Cregger’s deft directing abilities, but begs the question – couldn’t there be a better reason for some kids to run away in the middle of the night?

Boys Go to Jupiter is a slacker movie for hustlers. For the people who have fallen asleep at work while chasing an impossible dream, only to realize that the real dream is the reality that’s going on all around them.

Jonah becomes unrecognizable by the end of Transplant, and that’s why the film exists. To show the insidious way perfection, obsession, and an inflated, Godlike sense of self can grow within someone without them ever realizing it.

Bunnylovr delves into the messy parts of the  self-conscious early twenties that most people want to forget and asks us to look again.

Softshell is unflinchingly open in its exploration of the ways people exist in the world as we know it today. This film is personal and intimate, and it gets under your skin.

Dance is a visual medium, expressing what words cannot, and Match in a Haystack puts the camera in the middle of it all to capture this fight to exist. 

To Kill a Wolf is utterly commanding in its deconstruction of trust and creates a deeply evocative conversation about what redemption looks like.