From director Andrew Ahn comes a joyful comedy of errors about a chosen family navigating cultural identity, queerness, and family expectations. Frustrated with his commitment-phobic boyfriend Chris and running out of time, Min makes a proposal: a green-card marriage with their friend Angela in exchange for her partner Lee’s expensive IVF. Elopement plans are upended, however, when Min’s grandmother surprises them with an extravagant Korean wedding banquet. Starring Bowen Yang, Lily Gladstone, Kelly Marie Tran, Han Gi-chan, Joan Chen, and Youn Yuh-jung, The Wedding Banquet is a poignant and heartfelt reminder that being part of a family means learning to both accept and forgive.

From director Andrew Ahn comes a joyful comedy of errors about a chosen family navigating cultural identity, queerness, and family expectations. Frustrated with his commitment-phobic boyfriend Chris and running out of time, Min makes a proposal: a green-card marriage with their friend Angela in exchange for her partner Lee’s expensive IVF. Elopement plans are upended, however, when Min’s grandmother surprises them with an extravagant Korean wedding banquet. Starring Bowen Yang, Lily Gladstone, Kelly Marie Tran, Han Gi-chan, Joan Chen, and Youn Yuh-jung, The Wedding Banquet is a poignant and heartfelt reminder that being part of a family means learning to both accept and forgive.

Jasmin Gordon’s poignant and impeccably crafted feature film debut rattles our perceptions of motherhood and moral integrity. Living in an idyllic town in the stunning Valais region of Switzerland, 40-year-old Jule (Ophélia Kolb) is a single mother dreaming of a stable existence for her young children, who have learned to take care of one another as their mom, determined to keep her chin up, employs increasingly creative and fantastical ways to maintain appearances. The film’s intimate and emotionally complex script introduces us to the kind of family who, though often hidden, are present in every society, and invites the viewer to set aside judgments and step into someone else’s shoes.

Jasmin Gordon’s poignant and impeccably crafted feature film debut rattles our perceptions of motherhood and moral integrity. Living in an idyllic town in the stunning Valais region of Switzerland, 40-year-old Jule (Ophélia Kolb) is a single mother dreaming of a stable existence for her young children, who have learned to take care of one another as their mom, determined to keep her chin up, employs increasingly creative and fantastical ways to maintain appearances. The film’s intimate and emotionally complex script introduces us to the kind of family who, though often hidden, are present in every society, and invites the viewer to set aside judgments and step into someone else’s shoes.

With The Life of Chuck, Mike Flanagan explores one of Stephen King’s most optimistic works. The world feels like it’s ending, and everybody’s saying goodbye to Chuck. Wherever Marty (Chiwetel Ejiofor) goes, he can’t get away from Charles Krantz (Tom Hiddleston). His face shows up on billboards, window signs, and even TV commercials. What’s so special about this seemingly ordinary accountant? Fans of Flanagan’s skillful storytelling in The Haunting of Hill House, Midnight Mass, and Doctor Sleep will easily see why he gravitated towards the unorthodox structure of this King novella that manages a rare feat: finding warmth in melancholy.

With The Life of Chuck, Mike Flanagan explores one of Stephen King’s most optimistic works. The world feels like it’s ending, and everybody’s saying goodbye to Chuck. Wherever Marty (Chiwetel Ejiofor) goes, he can’t get away from Charles Krantz (Tom Hiddleston). His face shows up on billboards, window signs, and even TV commercials. What’s so special about this seemingly ordinary accountant? Fans of Flanagan’s skillful storytelling in The Haunting of Hill House, Midnight Mass, and Doctor Sleep will easily see why he gravitated towards the unorthodox structure of this King novella that manages a rare feat: finding warmth in melancholy.

Filmmaker Sandhya Suri’s searing narrative debut follows a young housewife (Shahana Goswami) widowed after her police constable husband is killed on the job. Through a government initiative, she is trained to take his place in an overwhelmingly police station in rural Northern India, where she works mostly with men. Suri blends a journalistic attention to procedural detail — expertly building tension as evidence and characters are revealed — with an empathetic rendering of Santosh’s internal conflicts. She seeks professional advancement and respect from her peers while clinging to ethics in a system that prioritizes suspect confessions and convictions by any means.

Filmmaker Sandhya Suri’s searing narrative debut follows a young housewife (Shahana Goswami) widowed after her police constable husband is killed on the job. Through a government initiative, she is trained to take his place in an overwhelmingly police station in rural Northern India, where she works mostly with men. Suri blends a journalistic attention to procedural detail — expertly building tension as evidence and characters are revealed — with an empathetic rendering of Santosh’s internal conflicts. She seeks professional advancement and respect from her peers while clinging to ethics in a system that prioritizes suspect confessions and convictions by any means.

A father’s desperate quest to reunite with his daughter becomes the source of rising tension in this sensitively rendered feature by Belgian filmmaker Guillaume Senez. Jay, a French man living in Tokyo, makes his living as a driver. As a result of Japan’s “clean break” approach to family law, a parent may be unable to even contact their child after a divorce. After nine years, Jay is on the verge of giving up on the possibility of ever seeing his daughter Lily again. But one morning, a new passenger in his car takes his story in another direction.

A father’s desperate quest to reunite with his daughter becomes the source of rising tension in this sensitively rendered feature by Belgian filmmaker Guillaume Senez. Jay, a French man living in Tokyo, makes his living as a driver. As a result of Japan’s “clean break” approach to family law, a parent may be unable to even contact their child after a divorce. After nine years, Jay is on the verge of giving up on the possibility of ever seeing his daughter Lily again. But one morning, a new passenger in his car takes his story in another direction.

This documentary film, set in New York in 1972, explores John and Yoko’s musical, personal, artistic, social, and political world against the backdrop of a turbulent era in American history. At the core of the film is the One to One charity concert for special needs children, John Lennon’s only full-length concert between the final ticketed Beatles concert in 1966 and his death. The film includes a wealth of previously unseen Lennon archives, including personal phone calls, home movies filmed by John and Yoko, and restored and remastered footage from the One to One concert with remixed audio overseen by Sean Ono Lennon.

This documentary film, set in New York in 1972, explores John and Yoko’s musical, personal, artistic, social, and political world against the backdrop of a turbulent era in American history. At the core of the film is the One to One charity concert for special needs children, John Lennon’s only full-length concert between the final ticketed Beatles concert in 1966 and his death. The film includes a wealth of previously unseen Lennon archives, including personal phone calls, home movies filmed by John and Yoko, and restored and remastered footage from the One to One concert with remixed audio overseen by Sean Ono Lennon.

Shot over more than six years, Ninan Auassat: We, the Children brings us the moving stories of three groups of children from three different Indigenous nations: Atikamekw, Eeyou Cree, and Innu. Filmed from “a child’s eye view” and presenting a groundbreaking vision of contemporary Indigenous youth, this documentary is notable for the complete absence of adult voices and “experts” on young people, holding space instead for a new generation with a burning desire to be heard. The result is a captivating journey that becomes a call to action at a time when the voices of young people echo, demanding the right to be recognized and an opportunity to blossom.

Shot over more than six years, Ninan Auassat: We, the Children brings us the moving stories of three groups of children from three different Indigenous nations: Atikamekw, Eeyou Cree, and Innu. Filmed from “a child’s eye view” and presenting a groundbreaking vision of contemporary Indigenous youth, this documentary is notable for the complete absence of adult voices and “experts” on young people, holding space instead for a new generation with a burning desire to be heard. The result is a captivating journey that becomes a call to action at a time when the voices of young people echo, demanding the right to be recognized and an opportunity to blossom.

In a friendly and passionate dialogue, Dr. Augustin Masset and writer Fabrice Toussaint confront, for one, the end of his patients’ lives, and for the other, his own fate. Carried away by a whirlwind of visits and encounters, the two embark on a sensitive journey between laughter and tears: a human adventure at the heart of all our lives. A tender display of courage and sensitivity, The Last Breath (Le Dernier Souffle) reassures us about the nature of man and his humanity.

In a friendly and passionate dialogue, Dr. Augustin Masset and writer Fabrice Toussaint confront, for one, the end of his patients’ lives, and for the other, his own fate. Carried away by a whirlwind of visits and encounters, the two embark on a sensitive journey between laughter and tears: a human adventure at the heart of all our lives. A tender display of courage and sensitivity, The Last Breath (Le Dernier Souffle) reassures us about the nature of man and his humanity.

In 1980s Quebec, 10-year-old Hélène – who insists on being called Jo after her favourite cartoon heroine, Joséphine La Petite Mousquetaire – lives in a lively, working-class neighbourhood with her three sisters, an unhappy father, and a strict but understanding mother. Among the colourful locals, her favourite is their gruff but tender-hearted neighbour, Monsieur Roger. With a romantic spirit and a vivid imagination, Jo dreams of heroic adventures and takes on her most ambitious mission yet: saving her father from the weight of his struggles.

In 1980s Quebec, 10-year-old Hélène – who insists on being called Jo after her favourite cartoon heroine, Joséphine La Petite Mousquetaire – lives in a lively, working-class neighbourhood with her three sisters, an unhappy father, and a strict but understanding mother. Among the colourful locals, her favourite is their gruff but tender-hearted neighbour, Monsieur Roger. With a romantic spirit and a vivid imagination, Jo dreams of heroic adventures and takes on her most ambitious mission yet: saving her father from the weight of his struggles.

An Italian box office sensation and winner of six Italian Academy Awards, There’s Still Tomorrow is a neorealist-inspired drama with a sharp comedic edge. Set in postwar Rome and shot in black and white, it follows a resilient working-class woman as she endures daily struggles under the thumb of her oppressive husband. When her daughter’s engagement offers a glimpse of a different future — and a mysterious letter arrives — she finds the strength to rewrite her fate.

An Italian box office sensation and winner of six Italian Academy Awards, There’s Still Tomorrow is a neorealist-inspired drama with a sharp comedic edge. Set in postwar Rome and shot in black and white, it follows a resilient working-class woman as she endures daily struggles under the thumb of her oppressive husband. When her daughter’s engagement offers a glimpse of a different future — and a mysterious letter arrives — she finds the strength to rewrite her fate.

Featuring compelling first-hand accounts from the people who steered this complex and crucial case to the Supreme Court of Canada, this uplifting documentary showcases the passion, dedication, and sacrifices necessary to change the world for the better. Delwin Vriend never wanted to be a human rights activist. In challenging his firing for being gay, he set in motion a chain of events that impacted the lives of LGBTQ+ people — not just in Alberta and in Canada, but around the globe.

Featuring compelling first-hand accounts from the people who steered this complex and crucial case to the Supreme Court of Canada, this uplifting documentary showcases the passion, dedication, and sacrifices necessary to change the world for the better. Delwin Vriend never wanted to be a human rights activist. In challenging his firing for being gay, he set in motion a chain of events that impacted the lives of LGBTQ+ people — not just in Alberta and in Canada, but around the globe.