In 1700s Austria, a witch-hunter’s apprentice has doubts about the righteousness of witch-hunting when he witnesses the brutality, the injustice, the falsehood, the torture and the arbitrary killing that go with the job.

Two academic teenage superstars realize, on the eve of their high school graduation, that they should have worked less and played more. Determined to never fall short of their peers, the girls set out on a mission to cram four years of fun into one night.

A devoted young woman becomes ensnared in a web of sexuality and betrayal in Jean-Pascal Hattu’s consistently unpredictable and finely wrought character study. A vividly realistic psychosexual drama, the film’s sharp emotional honesty heralds a distinct new voice from a promising young director. Hattu soon reveals that Maite’s husband Vincent is in prison for an unspecified crime, and that she has promised to wait for him and attend to his laundry (if not his conjugal needs) during his incarceration. On one of her weekly visits, Maite meets Jean, an oddly inquisitive and boldly flirtatious prison warden, and soon the two commence a joyless affair. Seemingly smitten with Maite, Jean, in a gesture of kindness to his lover, eases up on her husband behind bars; the two become pals and even engage in some homoerotic shower talk. —Robert O’Shaughnessy

Two teenagers from a remote religious community travel to town in search of shelter after being told by their Evangelical parents that an asteroid will soon destroy the earth.

When a hateful, vitriolic basement dwelling podcaster goes viral, he garners an audience of violent sycophants and incensed enemies – and faces deadly backlash when he’s doxxed by activist hackers.

A drag racer becomes a paraplegic, but he undergoes a religious conversion.

Originally a collection of clips from the Neon Genesis Evangelion TV series, Death was created as a precursor to the re-worked ending of the series. Rebirth was intended as that re-worked ending, but after production overruns Rebirth became only the first half of the first part of The End of Evangelion, with some minor differences.

Henry Brogen, an aging assassin tries to get out of the business but finds himself in the ultimate battle: fighting his own clone who is 25 years younger than him and at the peak of his abilities.

David Samuels is from an intellectual Jewish family from the posh Amsterdam Old South, where he is often mistaken as Moroccan because of his dark hair. David is a remarkable man on a mission: to find a ghetto fabulous queen with great tits and thick buttocks. His parents and friends declare him mad, but David continues unabated. His search leads him to the Bijlmer, where, after some wild adventures he is left disappointed. Will David ever find his ideal woman – a large, dark sex goddess with booty and brains?

Dissipated Tokyo playwright, Kosuke has retreated to the countryside after deciding that he’s done with women, but the indefatigable cat-in-heat Shiori has other ideas, clinging to Kosuke like his shadow.

Musician Max Frost lends his backing to a Senate candidate who wants to give 18-year-olds the right to vote, but he takes things a step further than expected. Inspired by their hero’s words, Max’s fans pressure their leaders into extending the vote to citizens as young as 15. Max and his followers capitalize on their might by bringing new issues to the fore, but, drunk on power, they soon take generational warfare to terrible extremes.

It’s Christmastime and the far-flung members of the Rodriguez family are converging at their parents’ home in Chicago to celebrate the season and rejoice in their youngest brother’s safe return from combat overseas.