Deceived by the scruffy ginger counselor who’s the only boy near her emotional age at Emily Dickinson Writing Camp, Marion ditches lunch duty and jumps the next bus out of town. Alone and friendless, she holes up in a nowhere motel, ignoring the nagging calls from her sister and indulging in utter anonymity. There Marion meets Norman, and each is haunted by the feeling that they’ve met the other before. Like a garage band covering a string quartet, freshman director Jesse Robinson rebuilds Psycho from a looser, warmer material. Young and Innocent throws a haze across Hitchcock’s spartan menace, replacing autumnal chill with summer swelter, and adult frailty with the languageless longings of adolescence.

A Middle Eastern man invades the home of a young, affluent couple as a result of a road rage incident, and the results are a tense exploration of their preconceptions and misconceptions.

To the average person, psychic abilities might seem a blessing; for Kusuo Saiki, however, this couldn’t be further from the truth. Gifted with a wide assortment of supernatural abilities ranging from telepathy to x-ray vision, he finds this so-called blessing to be nothing but a curse. As all the inconveniences his powers cause constantly pile up, all Kusuo aims for is an ordinary, hassle-free life—a life where ignorance is bliss. Unfortunately, the life of a psychic is far from quiet. Though Kusuo tries to stay out of the spotlight by keeping his powers a secret from his classmates, he ends up inadvertently attracting the attention of many odd characters, such as the empty-headed Riki Nendou and the delusional Shun Kaidou. Forced to deal with the craziness of the people around him, Kusuo comes to learn that the ordinary life he has been striving for is a lot more difficult to achieve than expected.

During a long hot summer in the 1970s, four boys roam free through a neglected rural paradise, until a tragedy strikes that sets them against the adult world and changes their lives forever.