Have We Met Before?

A teenage boy navigates the final minutes before his first theater stage performance, which includes experiencing his first kiss. Despite his rising anxiety, he shares a romantic moment with a classmate.

The heterosexual man Axel is thrown out of his girlfriends home for cheating and ends up moving in with a gay man. Axel learns the advantages of living with gay men even though they are attracted to him and when his girlfriend wants him back he must make a tough decision.

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

Now aged 17, Antoine Doinel works in a factory which makes records. At a music concert, he meets a girl his own age, Colette, and falls in love with her. Later, Antoine goes to extraordinary lengths to please his new girlfriend and her parents, but Colette still only regards him as a casual friend. First segment of “Love at Twenty” (1962).

Ricky is a young man who takes care of his sick mother. His father hovers at the edge of the picture, so Ricky provides for himself and his mom through prostitution, running errands, and acting as a caregiver for a blind man. Through the course of the film, Ricky befriends Janey, a young woman he finds beaten by her ex-boyfriend, and Trenn, a mysterious young man in trouble with the law. The three of them navigate a dark and confusing world. It uses many of the actors who have come to constitute the Dar A Luz company, including Tony Torn, Tom Fitzpatrick, Juliana Francis, and Tom Pearl. It will disappoint those who approach it looking for a film analogue of the “faster and louder” aesthetic that critics have used to characterize much of Abdoh’s stage work. The Blind Owl does use a variety of techniques reminiscent of his stage direction, giving it an unusual theatricality.

A misunderstanding leads to sombre consequences as two flatmates recall very different turns of event from the previous night.

A year after the death of their beloved Lily, Beau and Caden learn that she froze some of her eggs and they must decide whether they are ready to take the next step in their relationship and become parents.

After some time apart, Andrew hopes a game of catch will help him reconnect with his father.

A 10-minute portrait of modernist poet and de Andrade’s godfather, Manuel Bandeira, is clear in its affection for it subject, though like many New-Waveish films of the time, depicts the modern urban landscape as an ominous and alienating force.

A teenager struggles with his identity after an unresolved family relationship.

Set to a classic Duke Ellington recording "Daybreak Express", this is a five-minute short of the soon-to-be-demolished Third Avenue elevated subway station in New York City.

After a dreadful incident coupled with an ungovernable paroxysm of violence, a butcher will fall into a downward spiral that will burn to the ground whatever dignity still remained in him.

An insecure but curious gay guy tries to change the outcome of his date by manipulating time with his Rubik’s Cube, despite not acknowledging the consequences that this time warp might bring to his date.

When his husband Gabriel files for divorce, Nicky fights for custody of their 8-year-old son Owen, as he struggles to come to terms with what it means to love someone and what it means to be a father.

They gave in. Or capitulated. They didn't want to have sex. They couldn't push back, to make them understand that no, they didn't want to. Some consider it part of the unpleasant yet inevitable experiences of youth. Others don't. For the first time, a film addresses this "gray" area of sexuality without consent.

In 1990s Los Angeles, a 13-year-old spends his summer navigating between a troubled home life and a crew of new friends he meets at a skate shop.

12-year-old Clarice Cheung feels like she’s invisible — especially next to her older sister Naomi. But when a fight breaks out at the dinner table, it awakens a ghost that begins taking the family, one by one. Now Clarice and Naomi must work together to stop this powerful spirit, before their family is torn apart forever.

A betrayed wife begins to investigate her husband’s mistresses. Her jealousy is gradually replaced by curiosity.

A young girl buries in her soul a memory of a painful moment, when as a child she brought home an injured bird and her father burdened by his own weight of worries didn’t notice her feelings and longing for understanding. The girl took her father’s reaction as indifference and closed herself in her inner world longing for her father’s love and its manifestations. Since that moment she and her dad continued to grow apart, and as an adult she is no longer able to accept his endearments. The father suffers from guilt and searches for a way back to his daughter, trying to revive their lost relationship.

A man and a woman have an awkward encounter at an indoor playground.