Agnes, the pioneering, pseudonymized, transgender woman who participated in Harold Garfinkel’s gender health research at UCLA in the 1960s, has long stood as a figurehead of trans history. In this rigorous cinematic exercise that blends fiction and nonfiction, director Chase Joynt explores where and how her platform has become a pigeonhole. Framing Agnes endeavors to widen the frame through which trans history is viewed — one that has remained too narrow to capture the multiplicity of experiences eclipsed by Agnes’. Through a collaborative practice of reimagination, an impressive lineup of trans stars (Zackary Drucker, Angelica Ross, Jen Richards, Max Wolf Valerio, Silas Howard, and Stephen Ira) take on vividly rendered, impeccably vintage reenactments, bringing to life groundbreaking artifacts of trans healthcare.

Rumors of demonic possession at a religious convent prompts a church investigation into the strange goings-on among its nuns. A disaffected priest and his neophyte are confronted with temptation, bloodshed and a crisis of faith.

What is a human life worth? How is it possible that a woman like Agnes could agree to kill another human being? Is it the money? Or are there other forces at play?

The non-fiction author Walter falls for the physics student Agnes. He is fascinated by her extreme attitude towards life and her reserved appearance, which is quite the opposite of his quiet and regular life. When Agnes encourages him to follow his passion for writing fiction, he starts to work on a book, a portrait of how he sees her.

When a dead newborn is found, wrapped in bloody sheets, in the bedroom wastebasket of a young novice, psychiatrist Martha Livingston is called in to determine if the seemingly innocent novice, who knows nothing of sex or birth, is competent enough to stand trial for the murder of the baby.

Deep in the jungle, a group of Mexican gum workers crosses their path with Agnes, a mysterious Belizean woman. Her presence enlivens the fantasies and desires of those men, without knowing that they have woken up an ancient Mayan legend.

Gunned down in the snowy wilderness and desperate for shelter, Billy Cavanagh is taken in by kooky old lady Agnes, unaware that her isolated log cabin is surrounded by bloodthirsty skinless creatures hellbent on getting inside.

INVALID is the story of a woman (Agnes played by Joni Durian) who is tasked with caring for her vegetative brother (Andrew played by Brandon Salkil). Things get strange when Agnes begins to hear her brother’s voice in her head, and he demands blood. Its Maniac meets Psycho meets Patrick with camera work and lighting inspired by the Italian greats like Bava, Fulci, and Argento. Sleaze, art, and emotion collide in INVALID.

Paul and Agnes have been going out for quite a while and Agnes is shocked to learn that he’d rather live with two roommates on campus than move in with her. As soon as he meets one of his roommates, Louis-Anault, Paul’s behavior changes – he is attracted to Louis without realizing so himself. Agnes, on the other hand, gets quite jealous and offers a bet: Whoever gets to have Louis-Anault first, wins… If she does, Paul will no longer explore his homosexual desires, if he does – she’ll walk away. Meanwhile, Paul meets Mecir, a young Arab worker, who shows him there’s more to life than elite colleges…

Brooks Caldwell, (Cary Elwes) an erudite and handsome lawyer, seems to have it all: wealth, social status and a red hot career. His success is, in reality, a product of his marriage to his beautiful, socialite wife, Amanda, (Terri Polo) a wealthy timber heiress. Unlike most, who would remain content to enjoy a life of luxury and privilege, Brooks continues to risk everything by having extramarital affairs. Brooks’ philandering, in addition to humiliating Amanda, has driven her to the point of a mental breakdown. Having been pushed over the edge, Amanda orchestrates a just and elaborate plan to bring her husband down. When Brooks leaves for a weekend romp with his latest squeeze, (Agnes Bruckner) his life quickly descends into a bizarre, nightmarish, downward spiral.

When Moore Street market-trader Agnes Brown finds her livelihood under threat from a ruthless developer, she and her family embark on a campaign to save her stall, aided as only the Browns will be by a motley troop of blind trainee Ninjas, an alcoholic solicitor, and a barrister with Tourettes Syndrome.

A lonely waitress with a tragic past, Agnes rooms in a run-down motel, living in fear of her abusive, recently paroled ex-husband. But when Agnes begins a tentative romance with Peter, an eccentric, nervous drifter, she starts to feel hopeful again – until the first bugs arrive…

Agnes and her two sisters struggle through a day in a home overrun by gamblers, thieves, and johns.

Agnes, a lonely teenage girl, and her father befriend an escaped convict, named Joseph, who arrives at their farm in Brittany, France. When Joseph develops an attraction to Agnes, her father threatens to break up the union.

One year ago, Agnes Rickover attended opening night at the Bates Motel and Haunted Hayride to see her best friend Lily’s dramatic debut. A horrific accident resulted in Agnes witnessing Lily’s fiery death in a spectacle gone wrong. After a year of obsessing over a murder investigation everyone else thinks is open and shut, Agnes goes to work at the Haunt in an attempt confront her trauma. Horrific events begin to claim the lives of her coworkers and Agnes must figure out what is behind all of the “accidents” before more people die.

In “The Christmas Train,” disillusioned, globetrotting journalist Tom Langdon (Dermot Mulroney) must get from Washington, D.C. to Los Angeles in time for Christmas. Forced to take the intercontinental trip by train, and determined to chronicle his adventure, Tom finds himself westbound with a variety of characters. On the train is renowned movie producer Max (Danny Glover), Max’s script doctor and protégé Eleanor (Kimberly Williams Paisley), and Agnes (Joan Cusack) who occupies the cabin opposite Tom’s and seems to know his business better than he does. While all passengers on the Christmas train appear to be headed for the same destination, Tom has no idea that the rugged locomotives taking him across America will instead detour straight into his heart – into rude awakenings, his wildest hopes and dreams, and toward the opportunity for love Tom thought was lost forever.

Agnès Varda eloquently captures Paris in the sixties with this real-time portrait of a singer set adrift in the city as she awaits test results of a biopsy. A chronicle of the minutes of one woman’s life, Cléo from 5 to 7 is a spirited mix of vivid vérité and melodrama, featuring a score by Michel Legrand and cameos by Jean-Luc Godard and Anna Karina.

Director Agnès Varda and photographer/muralist JR journey through rural France and form an unlikely friendship.

Bringing laughs for the whole family, the mischievous Minions return in three new hilariously entertaining mini-movies. In “Puppy,” when Kyle is unwilling to behave like a real dog, the Minions go looking for one who will. As usual, nothing goes as planned, and when their new friend gets homesick, it’s time for some very creative thinking! “Panic In The Mailroom” is what happens when a suspicious package arrives and the Minions are totally unprepared. And in “Training Wheels,” Agnes has some trouble with her bike and the Minions come to her aid – armed with a few helpful gadgets.

Agnes is a woman who has reached her early 40s without ever venturing far from home, family or the tight-knit immigrant community in which she was raised by her widowed father. That begins to change in a quietly dramatic fashion when Agnes receives a jigsaw puzzle as a birthday gift and experiences the heady thrill of not only doing something she enjoys, but being very, very good at it.

The first documentary about France’s post punk and cold wave scene in the late 1970s and early 1980s. During an art show at agnès b. gallery in 2008, Jean-François Sanz has gathered some exceptional material that brings to light, through archival footage and about thirty interviews to the main players, the pop culture heritage of that moment.

Agnes MacDonnell, a strong and self-confident Englishwoman, owns a large estate on an island off the west coast of Ireland. When she begins a passionate but dangerous affair with her new estate manager, Agnes wages a desperate struggle to dominate this charismatic but destructive man.

Åmål is a small insignificant town where nothing ever happens, where the latest trends are out of date when they get there. Young Elin has a bit of a bad reputation when it comes to guys, but the fact is that she has never done *it*. Another girl in her school, Agnes, is in love with her but is too shy to do anything about it. For different reasons, Elin ends up at Agnes’ birthday party as the only guest. They have a girl’s night out together but after that Elin desperately avoids Agnes, refusing to even consider her own homosexuality.

Agnese and Stefano are profoundly different. She is only seventeen, lives with her mother – a harsh and devoted woman – is a regular church-goer and is about to take a vow of chastity to last until marriage. He is twenty-five, has a violent temper and a difficult past behind. He works as a warden in a car park that borders a Roma camp. Their unexpected meeting engenders a true sentiment, made of little stolen moments and mutual help.