Thirteen-year-old Kayla endures the tidal wave of contemporary suburban adolescence as she makes her way through the last week of middle school—the end of her thus far disastrous eighth grade year—before she begins high school.
"Eighth Grade shines as, like, a totally spot-on, you know, portrait of Millennial angst and stuff...Burnham shows a sociolinguist’s ear for the cadence and flow of 21st-century girl-speak, and Fisher delivers his dialogue so naturally, you’d swear she’s making it up as she goes along."—Peter Debruge, Variety
Riley (Kaitlyn Dias) is a happy, hockey-loving 11-year-old Midwestern girl, but her world turns upside-down when she and her parents move to San Francisco. Riley's emotions -- led by Joy (Amy Poehler) -- try to guide her through this difficult, life-changing event. However, the stress of the move brings Sadness (Phyllis Smith) to the forefront. When Joy and Sadness are inadvertently swept into the far reaches of Riley's mind, the only emotions left in Headquarters are Anger, Fear and Disgust.
2016 Academy Awards Winner—Best Animated Feature
2016 Academy Awards Nominee—Best Original Screenplay
Madeline (newcomer Helena Howard) has become an integral part of a prestigious physical theater troupe. When the workshop's ambitious director (Molly Parker) pushes the teenager to weave her rich interior world and troubled history with her mother (Miranda July) into their collective art, the lines between performance and reality begin to blur. The resulting battle between imagination and appropriation rips out of the rehearsal space and through all three women’s lives.
Writer/director Josephine Decker has long been an independent filmmaker to admire, utilizing a welcome expressionistic approach that imbues her subjects with a vibrant sense of urgency. Anchored by a virtuoso performance from newcomer Helena Howard, whose powerful screen presence commands attention, Decker’s film displays a rare sensitivity for capturing the messy struggles of discovering a sense of one's self that defies easy narrative categorization.
Ferris Bueller (Matthew Broderick) has an uncanny skill at cutting classes and getting away with it. Intending to make one last duck-out before graduation, Ferris calls in sick, "borrows" a Ferrari, and embarks on a one-day journey through the streets of Chicago. On Ferris' trail is high school principal Rooney (Jeffrey Jones), determined to catch him in the act.
A timeless story of human connection and self-discovery, Moonlight chronicles the life of a young black man from childhood to adulthood as he struggles to find his place in the world while growing up in a rough neighborhood of Miami.
2017 Academy Awards Winner—Best Picture, Supporting Actor(Mahershala Ali), and Best Adapted Screenplay
2017 Academy Awards Nominee—Best Supporting Actress, Director, Cinematography, Film Editing, and Original Score
A recurring Syndicated original programming block, presenting brief snapshots in the history of avant-garde filmmaking.
This edition: a program of black & white short films, the likes of which inspired the latest cinematic marvel of Josephine Decker, Madeline's Madeline (2018).
“My original education is in experimental film and that’s part of my thought process all the time. The heart of that is playfulness, ‘How do we do practical magic?’ Distorting, bending and melting the image.”—Josephine Decker
Camille's life as a lonely suburban teenager changes dramatically when she befriends a group of girl skateboarders. As she journeys deeper into this raw New York City subculture, she begins to understand the true meaning of friendship as well as her inner self.
"Exhilarating. An empowering portrait of young women on wheels and a touching ode to the rewards and challenges of female friendship.”—Justin Chang, Los Angeles Times
François Truffaut’s first feature is also his most personal. Told from the point of view of Truffaut’s cinematic counterpart, Antoine Doinel (Jean-Pierre Léaud), The 400 Blows (Les quatre cents coups) sensitively re-creates the trials of Truffaut’s own childhood, unsentimentally portraying aloof parents, oppressive teachers, and petty crime. The film marked Truffaut’s passage from leading critic to trailblazing auteur of the French New Wave.
A DCP 2k restoration from a 35mm composite fine-grain master positive. A Janus Films release.
Winner—Best Director and OCIC Award at Cannes
1960 Academy Awards Nominee—Best Original Screenplay
"I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between."—François Truffaut
From the visionary mind of director Masaaki Yuasa (Mind Game, Adventure Time's "Food Chain") comes The Night is Short, Walk On Girl, a comedy about one epic night in Kyoto.
As a group of teens go out for a night on the town, a sophomore known only as "The Girl with Black Hair” experiences a series of surreal encounters with the local nightlife… all the while unaware of the romantic longings of Senpai, a fellow student who has been creating increasingly fantastic and contrived reasons to run into her, in an effort to win her heart.
Us three. Us brothers. Us kings, inseparable. Three boys tear through their childhood, in the midst of their young parents’ volatile love that makes and unmakes the family many times over. While Manny and Joel grow into versions of their loving and unpredictable father, Ma seeks to shelter her youngest, Jonah, in the cocoon of home. More sensitive and conscious than his older siblings, Jonah increasingly embraces an imagined world all his own.
Winner—NEXT Innovator Award at Sundance
"Zagar...submerges the audience into [the brothers'] world from the outset, presenting a fluid stream of bittersweet and vivid episodes from the family’s life that gradually build into something profound."—Los Angeles Times