Dream Horse
Dream Horse tells the inspiring true story of Dream Alliance, an unlikely racehorse bred by small town Welsh bartender, Jan Vokes (Toni Collette). With very little money and no experience, Jan convinces her neighbors to chip in their meager earnings to help raise Dream in the hopes he can compete with the racing elites. The group’s investment pays off as Dream rises through the ranks with grit and determination and goes on to race in the Welsh Grand National showing the heart of a true champion.
Rated PG for language and thematic elements.
Description provided by Metacritic.
“We can see every plot point rounding the turn long before the finish line, but that’s OK, because we’re having a (dare I say it) jolly grand time every step of the way.” – Richard Roeper, Chicago Sun-Times
“This movie gets a real gallop on, due to the sheer warmth of its performances.” – Peter Bradshaw, The Guardian
“It’s a movie whose winning warmth, plucky ‘up from nothing’ story and genteel rowdiness are infectious. But its glory is in another gem of performance from Toni Collette.” – Roger Moore, Movie Nation
Perfumes
Anne Walberg is a celebrity in the perfume world. She creates fragrances and sells her incredible talent to companies of all kinds. She lives as a diva, selfish, well-tempered. Guillaume is her new driver and the only one who is not afraid to stand up to her. No doubt this is the reason why she does not fire him.
Not Rated. Contains language, thematic material, and drug use.
Description provided by Metacritic.
“This is a film that chooses to keep things crisp and feather-light. And there is nothing wrong with the movie equivalent of a modestly happy floral cologne you’d splash on for a little daytime pick-me-up.” – Tomris Laffly, Variety
“An irresistible odd couple comedy of scents and sensibilities that delves into the rarefied world of a pedantic olfactory genius who has to get on with her shambolic chauffeur.” – Jane Freebury, Canberra Times
“Ultimately, Perfumes is not about fragrances at all, but rather the importance of employing all five senses in harmony to fully appreciate the world around us and the people in it.” – James Marsh, South China Morning Post
Ash Is Purest White
Qiao (Zhao Tao) is in love with Bin, a local mobster. During a fight between rival gangs, she fires a gun to protect him. Qiao gets five years in prison for this act of loyalty. Upon her release, she goes looking for Bin to pick up where they left off.
Not Rated. Contains strong violence, thematic material, language, and smoking.
Description and score provided by Metacritic.
“An intimate story of romance, betrayal and loss gets framed against the sweeping, epic backdrop of radical, socio-economic changes in China.” – Namrata Joshi, The Hindu
“Engrossing, surprising and affecting, held together by a towering performance from Tao – her gaze alone should carry a licence to kill.” – Ian Freer, Empire
“This is one of Zhangke’s peak achievements: pure cinema, and a story of the underworld unlike anything you’ve seen before.” – Michael Phillips, Chicago Tribune
Wife of a Spy
The year is 1940 in Kobe, the night before the outbreak of World War II. Local merchant, Yusaku Fukuhara, senses that things are headed in an unsettling direction. He leaves his wife Satoko behind and travels to Manchuria. There, he coincidentally witnesses a barbarous act and is determined to bring it to light. He leaps into action. Meanwhile, Satoko is called on by her childhood friend and military policeman, Taiji Tsumori. He tells her that a woman her husband brought back from Manchuria has died. Satoko is torn by jealousy and confronts Yusaku. But when she discovers Yusaku’s true intentions, she does the unthinkable to ensure his safety and their happiness.
Not Rated. Contains language, violence, and thematic material.
Description and score provided by Metacritic.
“Wife of a Spy is something like linear narrative perfection, with every scene perfectly calibrated.” – Glenn Kenny, New York Times
“Kiyoshi Kurosawa’s intriguingly titled Wife of a Spy bookends the Second World War in an absorbing, exotic, well-paced thriller with moments of disconcerting realism and horror.” – Deborah Young, Hollywood Reporter
“The story is captivating, the characters are magnificently fleshed out, and the emotional stakes are entirely, utterly believable.” – Barry Hertz, The Globe and Mail
Small Engine Repair
Frankie (John Pollono), Swaino (Jon Bernthal) and Packie (Shea Wigham) are lifelong friends who share a love of the Red Sox, rowdy bars and Frankie’s teenaged daughter Crystal (Ciara Bravo). But when Frankie invites his pals to a whiskey-fueled evening and asks them to do a favor on behalf of the brash young woman they all adore, events spin wildly out of control. Based on Pollono’s award-winning play, Small Engine Repair is a pitch-black comedic drama with a wicked twist and a powerful exploration of brotherhood, class struggle and toxic masculinity.
Rated R for pervasive language, crude sexual content, strong violence, a sexual assault, and drug use.
Description and score provided by Metacritic.
“Small Engine Repair is a real American horror story, skillfully shot, perfectly cast and acted, and carrying a sorrowful message that resonates with brutal truth.” – Marc Savlov, Austin Chronicle
“In less skilled hands, this could have come across as cynical and manipulative material, but Pollono is such a skilled wordsmith and the cast is so universally excellent, Small Engine Repair becomes a viewing experience you won’t easily shake off, not today and not for a long time.” – Richard Roeper, Chicago Sun-Times
“The last 40 minutes or so constitute a tense exercise in claustrophobic suspense… It’s here that Small Engine Repair may be at its stagiest but it’s here where it’s also at its best.” – Cary Darling, Houston Chronicle
De Gaulle
May 1940. France is facing a disastrous military situation against the German army. Charles de Gaulle, newly appointed General, joins the Government in Paris while Yvonne, his wife, and their three children stay in the East. Facing the defeatist attitude of Pétain ready to negotiate with Hitler, de Gaulle has one purpose: continue fighting. And along with thousands of French families, Yvonne and the children are soon forced to flee the advancing German troops. Without contact from one another, the doubt arises: will the de Gaulle family be sacrificed for the sake of France?
Not Rated. Contains thematic elements and brief nudity.
Description provided by Rotten Tomatoes.
“Wilson makes a very plausible de Gaulle. He has the height, the slimness and the posture and once he has the uniform on, it’s easy to overlook the fact that he’s much too handsome for the part.” – Sandra Hall, Sydney Morning Herald
“[The] focus is on tense, compelling backroom negotiations before the general (an outstanding Lambert Wilson) became a wartime leader.” – Jane Freebury, Canberra Times
“Less jingoistic and nationalistic than its creators, we praise and extol the performance of its protagonist, Lambert Wilson.” – Rubén Romero Santos, Cinemanía
The Wine of Summer
A frustrated actor travels to Spain in search of a playwright, a trip that unexpectedly binds him to a group of five previously unconnected people.
Rated PG for mild thematic elements, brief language, and smoking.
Description provided by IMDb.
Pavarotti
Created from a combination of Luciano Pavarotti’s genre-redefining performances and granted access to never-before-seen footage, the film will give audiences around the world a stunningly intimate portrait of the most beloved opera singer of all time.
Rated PG-13 for brief strong language and a war related image.
Description and score provided by Metacritic.
“A warm, emotional and completely involving film about the celebrated tenor.” – Kenneth Turan, Los Angeles Times
“Howard’s film is a love letter to the icon, but ultimately Pavarotti is a more of a celebration of the individual behind that façade and a reminder that it’s as much his humanity as his talent that made him a star.” – Todd Gilchrist, The Wrap
“This love letter dedicated to opera’s biggest rock star, the larger-than-life Luciano Pavarotti, achieves something most documentaries about the deceased rarely do: It brings a man back to glorious life.” – Steve Davis, Austin Chronicle
Trick ‘r Treat
Four interwoven stories that occur on Halloween: An everyday high school principal has a secret life as a serial killer; a college virgin might have just met the one guy for her; a group of teenagers pull a mean prank; a woman who loathes the night has to contend with her holiday-obsessed husband.
Rated R for horror violence, some sexuality/nudity, and language.
Description provided by Metacritic.
“Trick ‘r Treat neatly apportions scary and campy elements while cleverly interlacing four storylines on Halloween night in an Ohio hamlet.” – Joe Leydon, Variety
“There are a lot of tricks in this movie, and a lot of treats – that isn’t just a cheesy Halloween reference, it’s the visible intended design of this funny, weird, sometimes actually unsettling movie.” – Tasha Robinson, Polygon
“It invokes traditions and superstitions… while subtly threading in new customs and legends from the whole cloth-so artfully that they immediately seem just as valid and timeless.” – Jim Vorel, Paste
Grand Duke of Corsica
As a deadly epidemic slowly begins to sweep Malta, a brilliant architect embarks upon an unusual commission for an eccentric billionaire who calls himself “The Grand Duke of Corsica”. A state of emergency creates chaos but Alfred Rott, ever the professional, remains to finish the job.
Not Rated. Contains strong language, graphic images, nudity, and sexual content.
Description provided by IMDb.
“The inbuilt ripeness may repel some viewers, and certain themes go under-metabolised, but it’s reassuring to see someone still tossing out curveballs like this.” – Mike McCahill, The Guardian
“If you’re up for something truly unusual, as refined as wine but with a whiff of excrement, then the film will be right up your a*s… ahem, alley.” – Alex Saveliev, Film Threat
“The visuals are grand yet playful, and while the results are patchy and pretentious, they are also curiously captivating.” – David Parkinson, Radio Times
Summertime
Over the course of a hot summer day in Los Angeles, the lives of 25 young Angelinos intersect. A skating guitarist, a tagger, two wannabe rappers, an exasperated fast-food worker, a limo driver—they all weave in and out of each other’s stories. Through poetry they express life, love, heartache, family, home, and fear. One of them just wants to find someplace that still serves good cheeseburgers.
Rated R for language throughout, and sexual references.
Description and score provided by Metacritic.
“On paper, it sounds iffy; in execution, however, it’s absolutely glorious, a gleeful glide through adolescence that doesn’t gloss over pangs of grief or grimmer thoughts.” – Odie Henderson, RogerEbert.com
“López Estrada and company not only subvert lazy assumptions about their misunderstood metropolis and who lives and thrives there, but they also entirely shift the focus to the unheard and unseen for a wonderful reinvention. You’ll never see L.A. the same again and that’s for the better.” – Carlos Aguilar, The Wrap
“The result is a deeply touching tapestry that celebrates the diversity and cultural richness of LA, while at the same time exploring the hopes and fears of a generation heading into an uncertain adulthood.” – Tim Grierson, Screen Daily
Zana
Haunted by her long suppressed past and pressured by family to seek treatment from mystical healers for her infertility, a Kosovar woman struggles to reconcile the expectations of motherhood with a legacy of wartime brutality.
Not Rated. Contains violence, bloody images, and a sexual assault.
Description provided by IMDb.
“Matoshi’s impressively internalized performance conveys a lot with very little, her impassive features telegraphing submerged grief with scant trace of melodrama.” – Stephen Dalton, Hollywood Reporter
“A beautifully crafted film about the power of grief and the destruction and damage war inflicts on those touched by it.” – Rob Aldam, Backseat Mafia
“Zana is a touching, anxiety-inducing story about the effects of unexposed trauma… with horror elements added for effect.” – Alan Ng, Film Threat
Jules of Light and Dark
Two young lovers, Maya and Jules, are found wrecked on the side of the road after a party by a loner roughneck, Freddy. During rehab, their relationship falls apart, and Maya forms an unlikely friendship with Freddy.
Not Rated. Contains language, drug use, and sexual content.
Description provided by IMDb.
“More concerned with mood than plot, this contemplative character-driven drama offers a raw but incisive examination of contemporary relationships and queer identity.” – Todd Jorgenson, Cinemalogue
“The rare film where you not only witness a meaningful change for the characters, but suspect they’ll continue to evolve long after the cameras stop rolling, if for no other reason than you feel as if you’ve experienced a change yourself from seeing it.” – Stephen Saito, Moveable Feast
Chained
An abused teenage boy stumbles upon a hardened criminal who’s been left chained inside an abandoned warehouse, and the pair slowly establishes an odd bond.
Not Rated. Contains strong language, violent images, and thematic material.
Description provided by Rotten Tomatoes.
“Although there’s some unevenness in the performances and chemistry between characters, the actors remain watchable and Kazadi does his brooding best, carrying much of the film.” – Craig Takeuchi, Georgia Straight
The Auschwitz Report
This is the true story of Freddy and Walter – two young Slovak Jews, who were deported to Auschwitz in 1942. On 10 April 1944, after meticulous planning and with the help and the resilience of their inmates, they manage to escape. While the inmates they had left behind courageously stand their ground against the Nazi officers, the two men are driven on by the hope that their evidence could save lives. Emaciated and hurt, they make their way through the mountains back to Slovakia. With the help of chance encounters, they finally manage to cross the border and meet the resistance and The Red Cross. They compile a detailed report about the systematic genocide at the camp. However, with Nazi propaganda and international liaisons still in place, their account seems to be too harrowing to believe.
Not Rated. Contains violence, language, thematic material, and nudity.
Description and score provided by Metacritic.
“Even for those who know about the Auschwitz Protocols – a report to which the pair contributed that has a weighty legacy in Holocaust history – the film is still intensely impactful. Inevitably, it is profoundly upsetting and disturbing.” – Leslie Felperin, The Guardian
“Special kudos go to Martin Ziaran’s innovative, at times vertiginous and even upside-down camerawork, which lends a you-are-there feel to the film’s already viscerally unnerving action. It’s a master class in cinematography.” – Gary Goldstein, Los Angeles Times
“The film is a powerful reminder never to underestimate the historical evils that have been, and could again be, unleashed.” – Scott Tobias, Variety
P.S. Burn This Letter Please
P.S. Burn This Letter Please is a documentary film about New York City’s drag community. A box of letters, held in secret for nearly 60 years, ignites a 5-year exploration into a part of LGBT history that has never been told. The letters open a window into a forgotten world where being yourself meant breaking the law and where the penalties for “masquerading” as a woman were swift and severe. The government sought to destroy them, then history tried to erase them, now they tell their story for the first time.
Not Rated. Contains language, and sexual material.
Description provided by IMDb.
“The resulting documentary is a delightful and affecting oral history, chronicling a specifically New York chapter in the story of gay life in the United States.” – Sheri Linden, Hollywood Reporter
“An essential foray into a forgotten history of identity, rebellion, and art… this documentary is a testimony to the deeply human drive to flourish against all odds.” – James Hanton, Outtake
“A love letter to a generation of pioneers that’s witty and pretty (and plenty gay), this deserves to become an instant classic.” – Manuel Betancourt, That Shelf
Newcastle
After he’s barred from the surfing team, a teen (Lachlan Buchanan) takes his friends on a trip to a remote beach for fun in the sun.
Not Rated. Contains strong language throughout, violence, sexual content, and nudity.
Description provided by Rotten Tomatoes.
“A beautiful film, charged with energy and sensitivity.” – Kevin Thomas, Los Angeles Times
“An engaging yarn buoyed by spectacular surf action. Emotional discord aside, it will strike the right note with any teenage surfie heading to the beach this summer.” – Colin Fraser, FilmInk
“The story is slight but the performances are strong…” – Jim Schembri, The Age
Taste of Cherry
An Iranian man drives his truck in search of someone who will quietly bury him under a cherry tree after he commits suicide.
Not rated. Contains strong thematic material and brief language.
Description and score provided by Metacritic.
“An exquisite return to cinema at its most intimate, allusive and humanist. Without a firebomb, muscle-bound star or gunfight in sight, it explodes with the most fragile and combustible substance on earth: human nature.” – Ann Hornaday, Baltimore Sun
“This outstanding work — so meditative — is clearly an affirmation of life (and never more provocatively than in the film’s unusual coda, in which moviemaking itself becomes part of the discussion). It’s also so grounded in the real emotional scope of ordinary people that the magnitude of the subject is answered in the most mysteriously matter-of-fact way.” – Lisa Schwarzbaum, Entertainment Weekly
“Watching Taste of Cherry and following its path of fear and redemption, living through this strange day with these foreign but utterly recognizable and deeply sympathetic characters, we believe in them. We feel with them. We care what happens to them. And, knowing them, we know a bit more, as well, about ourselves.” – Michael Wilmington, Chicago Tribune
All the Wild Horses
International riders compete in the Mongol Derby in Mongolia, often called the longest and toughest horse race on the planet.
Not Rated. Contains strong language and smoking.
Description provided by Rotten Tomatoes.
“A heart-pounding adventure across the Mongolian wilderness, All the Wild Horses is an incredible depiction of the unbridled human spirit and a captivating documentary.” – Andrew Murray, The Upcoming
“The cinematography… is simply spectacular, capturing both the expansive landscapes and telling details about the competitors, their horses, the officials and the locals.” – Rich Cline, Shadows on the Wall
“This is one of those uncomplicated documentaries on a fascinating subject that could generate a cult.” – Donald Clarke, Irish Times
Really Love
Set in a gentrifying Washington DC, a rising Black painter tries to break into a competitive art world, while balancing a whirlwind romance he never expected.
Not Rated. Contains nudity, sexual content, and strong language.
Description provided by Metacritic.
“Featuring a breakout performance from an enrapturing Wong-Loi-Sing, and a beguiling turn from Siriboe, Really Love is a timeless black romance. Kristi Williams is an assured new voice already nestling herself inside audiences’ hearts.” – Robert Daniels, The Playlist
“Really Love subtly explores and juxtaposes the numerous obstacles Black people face when it comes to discovering their identity, transcending stereotypes, overcoming familial influence, being in charge – and it studies those issues through the colorful and forlorn and often lovely prism of Art.” – Alex Saveliev, Film Threat
“Like Toni Morrison’s fiction, Really Love is a moving portrait of Black life that’s not filtered through a white gaze but instead framed as a page in the book of humanity.” – Barbara Shulgasser, Common Sense Media
Beans
Twelve-year-old Beans (Kiawentiio Tarbell) is on the edge: torn between innocent childhood and delinquent adolescence; forced to grow up fast to become the tough Mohawk warrior she needs to be during the Indigenous uprising known as The Oka Crisis, which tore Quebec and Canada apart for 78 tense days in the summer of 1990.
Not Rated. Contains strong language throughout, sexual content, mild violence, and thematic material.
Description and score provided by Metacritic.
“Tracey Deer’s feature debut Beans vibrates with ferocious anger and righteous pride.” – Nikki Baughan, Screen Daily
“Beans is a thoughtful, stirring reflection by someone who survived it all, quietly demanding acknowledgement not just of her land, but of her life.” – Guy Lodge, Variety
“Deer, a rare filmmaker of Mohawk descent, portrays in Beans the hope and love that help people thrive in the face of such hatred.” – Ronda Racha Penrice, The Wrap
Space Dogs
Laika, a stray dog picked up by the Soviet space program on the streets of Moscow, became the first living being to orbit the earth when she was launched into space on Sputnik 2. Although Laika would not survive the journey, directors Elsa Kremser and Levin Peter trace the persistence of her memory and legacy into the present day. As the capsule containing Laika re-entered Earth’s orbit and began to burn up, the narrator announces, “What had been a Moscow street dog had become a ghost.” The ghost Laika lives on in the present-day strays of Space Dogs. Photographed at ground level with wandering, hypnotic camera movements, the strays are seen navigating the urban environs of modern Moscow. In hewing closely to the dog’s point of view, the city is rendered as a strange, alien environment. Pulsating music from buildings and unidentified passerby take on an unfamiliar quality as the dogs explore this strange new world.
Not Rated. Contains thematic material and violent images.
Description and score provided by Metacritic.
“The film draws us through its play toward darker, too-seldom-considered sides of human and doggy nature.” – Pat Brown, Slant
“It’s an exercise in empathy––and a spellbinding one at that.” – Leonardo Goi, The Film Stage
“By sticking primarily to the dogs’ POV, a world that we as humans are familiar with suddenly becomes unfamiliar and nerve-wracking.” – Steven Prokopy, Third Coast Review
Passenger Side
Two brothers spend the day driving around Los Angeles county looking for the meaning of their lives, or cheap street drugs, depending on who you happen to believe.
Not Rated. Contains strong language throughout, drug content, and strong sexual content.
Description provided by IMDb.
“[Passenger Side] does not force anything, but rather allows it to reveal itself, in its own sweet time. It possesses a reserve, a wry humour, an intelligence, and a type of good-natured dyspepsia that made me feel instantly at home.” – Dorothy Woodend, The Tyee
“Funnier and more intelligent than there are any grounds to hope for: an entertaining, wry tour of LA’s scuzzier sights.” – Cath Clarke, The Guardian
“A joy from start to finish. Bissonnette has crafted a unique, funny indie.” – Nev Pierce, Empire
Woodlands Dark and Days Bewitched
Woodlands Dark and Days Bewitched explores the folk horror phenomenon from its beginnings in a trilogy of films – Michael Reeves’ Witchfinder General (1968), Piers Haggard’s Blood on Satan’s Claw (1971) and Robin Hardy’s The Wicker Man (1973) – through its proliferation on British television in the 1970s and its culturally specific manifestations in American, Asian, Australian and European horror, to the genre’s revival over the last decade. Touching on over 100 films and featuring over 50 interviewees, Woodlands Dark and Days Bewitched investigates the many ways that we alternately celebrate, conceal and manipulate our own histories in an attempt to find spiritual resonance in our surroundings.
Not Rated. Contains violence, bloody images, strong language, sexual content, nudity, and thematic material.
Description and score provided by Metacritic.
“This is a three-hour documentary whose only problem is that it’s not even longer. Whether you’re a lifelong genre fiend or someone who just sampled Midsommar for the first time and needs another fix, Woodlands Dark and Days Bewitched is an absorbing academic exercise in the pedagogy of folk horror.” – Clint Worthington, Consequence
“Filled with thoughtful commentary, lush visuals and a myriad of perspectives, Woodlands Dark and Days Bewitched: A History of Folk Horror is a must-watch that chronicles humankind’s most intriguing cinematic stories.” – Marisa Mirabal, /Film
“Trusting that her subject matter is fertile enough to merit such a scholarly approach, and also bewitching enough to survive it, Janisse connects the dots between The Wicker Man and La Llorona in a way that allows this multi-chapter epic to function as both séance-like spectacle and streaming-era syllabus in equal measure.” – David Ehrlich, IndieWire
Uncle Howard
Uncle Howard is an intertwining tale of past and present––the story of filmmaker Howard Brookner, whose work captured the late 70s and early 80s cultural revolution, and his nephew’s personal journey 25 years later to discover his uncle’s films and the legacy of a life cut short by the plague of AIDS.
Rated TV-MA. Contains strong language, sexual content, thematic material, and drug use.
Description and score provided by Metacritic.
“The movie is a deft sort of dual narrative.” – Glenn Kenny, New York Times
“The doc’s beautiful final sequence rips your heart out.” – David Rooney, Hollywood Reporter
“A deeply personal piece of work that offers both an introduction (or re-introduction?) to the director’s uncle — a once-burgeoning independent filmmaker who died of AIDS in 1989 at just 31 years of age — and a somber meditation on talent lost.” – Rory O’Connor, The Film Stage
The Heart of Nuba
Welcome to the war-torn Nuba Mountains of Sudan, where American doctor Tom Catena selflessly and courageously serves the needs of a forgotten people, as the region is bombed relentlessly by an indicted war criminal, Omar Al-Bashir. Two things remain constant: Dr. Tom’s faith and his enduring love for the Nuba people.
Description and score provided by Metacritic.
“Producer-director Kenneth A. Carlson (a teammate of Catena’s at Brown) absorbingly, unfussily captures Catena’s daily challenges and feats while also painting a vivid, often heartbreaking portrait of a forgotten people trapped in an underreported sociopolitical nightmare.” – Gary Goldstein, Los Angeles Times
“Sure, an uplifting film like The Heart of Nuba plays like hagiography, but you’re hard-pressed to find complaints about this saintly, sometimes profane surgeon and healer. Unless you want to interview al-Bashir for your film.” – Roger Moore, Movie Nation
“If Catena has any faults, they’re not on display in this documentary. But it hardly matters, considering the importance of the work that he’s done and continues to do.” – Frank Scheck, Hollywood Reporter
Fourteen
Mara and Jo, in their twenties, have been close friends since middle school. Jo, the more outgoing figure, is a social worker who runs through a series of brief but intense relationships. Mara, a less splashy personality than Jo, bounces among teacher aide jobs while trying to land a position in elementary education and writes fiction in her spare time. She too has a transient romantic life, though she seems to settle down after meeting Adam, a mild-mannered software developer. It soon becomes apparent that Jo, despite her intellectual gifts, is unreliable in her professional life, losing and acquiring jobs at a troubling rate. Substance abuse may be responsible for Jo’s instability… but some observers suspect a deeper problem. Over the course of a decade, the more stable Mara sometimes tries to help, sometimes backs away to preserve herself, but never leaves behind her powerful childhood connection with Jo.
Not Rated. Contains strong language, sexual content, thematic material, and smoking.
Description and score provided by Metacritic.
“The diverging paths and seething conflicts of two lifelong friends, now young Brooklyn professionals, are explored deeply and poignantly in this deceptively calm melodrama, written and directed by Dan Sallitt.” – Richard Brody, The New Yorker
“A deep dive into the complexity and soft trauma of seeing those we idolized as kids through fresh eyes and what exactly to make of that new vantage.” – Rory O’Connor, The Film Stage
“When lifetimes of latent drama come home to roost in the surprisingly eventful final scenes, Fourteen builds to an unsparingly lucid assessment of what two friends can take from — and carry for — each other.” – David Ehrlich, IndieWire
All the Streets Are Silent
In the late 80s and early 90s, the streets of downtown Manhattan were the site of a collision between two vibrant subcultures: skateboarding and hip hop. Narrated by Zoo York co-founder Eli Gesner with an original score by legendary hip-hop producer Large Professor (Nas, A Tribe Called Quest), All the Streets Are Silent brings to life the magic of the time period and the convergence that created a style and visual language that would have an outsized and enduring cultural effect. From the DJ booths and dance floors of the Mars nightclub to the founding of brands like Supreme, this convergence would lay the foundation for modern street style.
Not Rated. Contains strong language.
Description and score provided by Metacritic.
“The story is lively, and the mixing of music, skateboarding, interviews, and footage of the past is amazing. It doesn’t matter if you’re a ‘hip hop head,’ a skater, or a stockbroker. You’ll be engaged from beginning to end.” – Dante James, Film Threat
“The film excels when it harnesses the wistful thrill of a bygone era, reminding us of a rich, creative past that deserves ample recognition.” – Isabelia Herrera, New York Times
“All The Streets Are Silent is most definitely a worthwhile look at the rise and life of, what is indeed, the ‘soundtrack of a generation.'” – Grady Bolding, Cultured Vultures