In 2019, art director Charlie Hess was diagnosed with early onset Alzheimer’s. In this tender and clear-eyed film, his wife, acclaimed casting director Heidi Levitt, chronicles the metamorphosis of their marriage over the next four years as she becomes his caretaker, learning to adapt to an ever-changing reality.

Three women, three stories of flight from various corners of Africa. They find refuge in one building on the outskirts of Tunis, where they form a fragile alliance and a silent bond of solidarity. But when an abandoned migrant child who has survived a shipwreck appears in their lives, it changes not only the atmosphere in their home but also the inner balance of each of them…

What did you do yesterday? On December 19, 1974, writer Linda Rosenkrantz posed this question to her good friend Peter Hujar, a since-celebrated photographer and noted New York personality. Working in the “nonfiction fiction” mode she pioneered in her novel Talk, this taped conversation was meant to be just one sliver in an anthology of chats detailing the daily routines of cutting-edge Downtown artists. Instead, the lengthy transcript sat on the shelf and was published on its own some 40 years later.

Sara Shahverdi is a badass. In her remote Iranian village, she sticks out like a sore thumb in her signature leather jacket and blue jeans. She lives on her own, which is enough to raise eyebrows in the deeply conservative community, and she loves riding her motorcycle through town. As the first elected councilwoman of her village, Sara is a force of nature who aims to break long-held patriarchal traditions, end child marriages, and empower teenage girls to make their own choices in life (while teaching them to ride).

Like a man possessed, German filmmaker Christian Petzold—the auteur behind such immaculate movies as Phoenix, Barbara, and Transit—just keeps remaking Vertigo. He seems intent on reconfiguring Hitchcock's puzzle-box until he solves the eternal mysteries of cinema. His latest cracked fairy tale, Miroirs No. 3, continues his fruitful partnership with his middle-period muse, Paula Beer, star of Afire and Undine, who brilliantly inhabits his uncanny environments and breathes life into his brittle tableaux.

Aspiring YA author Edward, an avatar for people-pleasers everywhere, agrees to look after the ailing mothers of some friends who are going on an unexpected vacation.

In It Was Just an Accident, Jafar Panahi's Palme d’Or-winning triumph, he’s as piercingly political as ever while also embracing white-knuckle genre filmmaking. Shot in secret without permits—often inside cars and without lights to avoid detection—Panahi’s economical filmmaking makes this thriller all the more taut in its telling. In this morality play, a group of former prisoners—a brilliant cross-section of Iranian society—think they have captured the intelligence officer who tortured them while incarcerated. But none of them is absolutely certain that it’s him, so they try to prove their suspicions beyond a shadow of a doubt.

In her elegant and thoughtful sophomore feature, Renoir, director Chie Hayakawa casts a glance backward to 1987 to tell the story of 11-year-old Fuki (fabulous newcomer Yui Suzuki). An introverted student with a vibrant internal life, Fuki has the usual stresses of a child her age, compounded by her hospital-bound father’s serious illness.

It’s 2008 and BFFs Matt (Matt Johnson, BlackBerry) and Jay (Jay McCarrol) have only one goal: for their ludicrously-named band, Nirvanna, to play a gig at local venue the Rivoli in Toronto. Flash forward 17 years. It’s 2025 and BFFs Matt and Jay, older but none the wiser, have only one goal: for their ludicrously-named band, still Nirvanna, to play a show at the Rivoli, which is going strong.