As the Earth’s average temperature rises each year, experts warn that we are nearing a fatal tipping point, 2 degrees Celsius above the norm, that will set into motion a cascade of natural disasters that will devastate America and the world. From raging fires to epic superstorms, volcanic blasts and rising seas, will human existence be pushed to the brink?

A romantic-drama, OLD FASHIONED centers on Clay Walsh, a former frat boy who gives up his carousing and now runs an antique shop in a small Midwestern college town. There, he has become notorious for his lofty and outdated theories on love and romance. When Amber Hewson, a free-spirited young woman with a restless soul, drifts into the area and rents the apartment above his shop, she finds herself surprisingly drawn to his noble ideas, which are new and intriguing to her. And Clay, though he tries to fight and deny it, simply cannot resist being attracted to her spontaneous and passionate embrace of life. Ultimately, Clay must step out from behind his relational theories, and Amber must overcome her own fears and deep wounds, as the two of them, together, attempt the impossible: an “old-fashioned” courtship in contemporary America.

As one art scene insider proclaims, the contemporary art world can be summed up as “rich people trying to prove how rich they are,” but is that all there is to this billion dollar industry? Well-researched and expertly constructed, Barry Avrich’s eye-opening documentary peels back the layers of the art world economy- from production to circulation, and delineates every integral player in the game of art-making, including curators, gallerists, collectors, donors, auction houses, and … artists. In the process, he unpacks the complex and surprising ecosystem that supports the art world superstars and million-dollar deals that make front-page news. Featuring extraordinary access to industry players and candid statements from prominent artists like Damien Hirst, Julian Schnabel, Taryn Simon, and Marina Abramovic, Blurred Lines collides the two narratives of the art world as both above and beholden to market forces.