Set in the underbelly of 1980s Modesto, California, Warm Blood uses the real-life diary of a teenage runaway named Red (newcomer Haley Isaacson) returning home to find her father. In his narrative feature debut, director Rick Charnoski’s history as a skate video director informs the frenetic storytelling style, as he combines Red’s nihilist musings with a collage of documentary and B-movie meta-narratives that paint a seedy picture of life on the outskirts of town. Talk-radio bits and punk music underscore the auditory cacophony of doom, while frequent Kelly Reichardt collaborator Christopher Blauvelt (First Cow, The Bling Ring) lends his immersive, naturalist lens shooting on gritty 16mm film.

A twisted 16mm Gen X comedy disguised as a 1970s drive-in flick, KILL THE MOONLIGHT is the story of Chance, a fish hatchery worker, toxic waste cleaner and aspiring race car driver whose goal in life is to fix up his Camaro and follow his dreams of championship glory. As the film unfolds, Chance unravels in strange ways after getting contaminated by toxic waste.

Cas, an academic assistant and amateur musician, moves into her aunt’s old home. In the bedroom closet, she finds a cache of mysteriously labeled microcassette tapes, containing cryptic recordings of sounds ranging from everyday objects to abstract soundscapes. Cas’s curiosity to discover the origin of these tapes leads her on a meditative journey through unknown verdant Californian landscapes, encountering experimental music performances, eccentric shop owners, and early music treasures along the way. As her adventure progresses, the mystery unravels in equally enigmatic and enlightening ways, reflecting Cas’s own evolving relation with time and sound.

Ralph, a mourning detective, discovers an unwelcome lump and an equally unwelcome partner, Xavier. The investigator contends with Xavier's exuberance as they navigate a partnership between unlikely cases, themselves and a lump.

"Why search the sand for answers? It has told us everything," whispers Roseline, the 173-year old desert nomad narrator of French director Jean-François Laguionie's hauntingly poetic animated feature of life after the apocalypse. Into this desolate science-fiction landscape (part-Dune, part-Fury Road) emerges the story's teenage heroine, Gwen, who refuses to hide in the shadows. A sublime and breathtaking masterpiece of world animation, Gwen... evokes Night Flight-favorite René Laloux's Fantastic Planet as a visually stunning and truly otherworldly experience.

The lives of three residents of Redlands, California, intersect and ultimately collide in this claustrophobic exploration of radical creativity, sexuality and violence in America. From director and photographer John Brian King (Punk Daze: Los Angeles 1977–84) comes an arthouse take on a film noir storyline with elements of black humor. Redlands is a dark, voyeuristic film that slowly builds to a savage denouement.

In this 1985 Night Flight interview, Wendy O. Williams announces, “When I feel buzzed and when I feel fried, I like to watch… Night Flight!” before conducting an only-on-NF interview with Mötley Crüe’s Tommy Lee and Vince Neil. The band discusses their early influences and their use of the pentagram before Williams steers the conversation toward appropriately unfiltered stories of sex and life on the road.

Independent filmmaker Caveh Zahedi approaches legendary songwriter Will Oldham (Bonnie "Prince" Billy) with the unusual proposition of taking psychedelic mushrooms together, and filming the results. Surprisingly, Will accepts.

It’s a documentary about making a horror film …or is it a horror film about making a documentary?! During a winter-long residency in Brooklyn, ten obsessive female artists succumb to the darkness of their creative fascinations.

Determined to set their pet goldfish free, Lana and Nico embark on a magical urban odyssey from their Los Angeles home to the ocean. Their adventure, seen through the eyes of the brother/sister team, is filled with an array of wild and sometimes frightening encounters! Little Feet is a the return of director Alexandre Rockwell to his black and white 16mm roots that won him a Grand Jury Prize at The Sundance Film Festival with In The Soup. Little Feet’s cinematography shows the poetic side of Los Angeles one rarely sees and stands as an homage of sorts to the very first films shot in the city.

It’s 2007 in Pfresno, Texas. Raphael is in county jail following an arrest for graffiti. He’s a good kid. It’s just graffiti. So you can’t blame Raphael for the events that unfold after his arrest. He’s not responsible for the sting operation, Pflophaus’s new mixtape, Officer Williams and her delusional suspicions, the meth pipes, the FBI, the rich kids with nothing to lose, Mateo, Larry the pig, all the knives, the local aspiring TV newswoman, the plutonium deal gone wrong, or anyone who may or may not die due to that deal turning sour. None of it is Raphael’s fault, but it is his problem.

A lonely dog groomer in Hollywood searches for love, but his true passion is making weird video art that nobody understands. His menial routine spirals out of control when he meets the girl of his dreams, crossing boundaries between reality.

After a catastrophic event, eight girls find themselves stranded in a house without electricity. As they run out of food and water, their sanity begins to crumble, and soon they regress to their baser instincts.

Follows a land surveyor on an assignment to measure an ancient forest for a developer but soon loses his reason in a supernatural environment that has its own plans.

After suffering a traumatic incident, Molly (Cecilia Milocco) moves into a new apartment to begin her path to recovery, but it’s not long after her arrival that a series of persistent knocks and screams begin to wake her up at night. Molly’s new life begins to unravel as the screams intensify and no one else in the building believes or is willing to help her.

We Kill for Love goes in search of the forgotten world of the direct-to-video erotic thriller, an American film genre that once dominated late night cable television and the shelves of neighborhood video stores. Through interviews with the many directors, writers, and actors who fanned the flames of this sexy subgenre, to academics and film historians whose books have explored its mysteries, this documentary explores the erotic thriller from its origins in film noir to its heyday during the 1980s and 90s home video explosion. Told with humor and tact and accompanied by hundreds of illustrative clips from DTV erotic thrillers, We Kill for Love balances film art with film scholarship as it pulls back the curtain to reveal the heart and soul of a forgotten and often maligned film movement.

Warning: This film contains extended sequences of flashing lights that may impact people with photosensitive epilepsy. Viewer discretion is advised. New French Extremity auteur Gaspar Noé’s Lux Æterna (2019) is a hypnotic, nerve-frying descent into meta-filmmaking chaos. As Béatrice Dalle and Charlotte Gainsbourg prepare for a shoot, they discuss filmmaking war stories, witches, and burnings at the stake. What begins as a behind-the-scenes interlude quickly unravels into full-blown psychosis in Noé’s acclaimed Cannes Film Festival premiere.

Birdie is a fragile and introverted teenager with a dark imagination. At an imposing, nearly-empty convent perched on the edge of a frozen lake, Birdie is unceremoniously placed into the care of the nuns where she develops unusual obsessions that will mark her as either a saint or a heretic.

In director Fabrice du Welz's Calvaire, a traveling entertainer is on his way home for Christmas when his van breaks down in the middle of a village, where he quickly falls victim to a dangerously unhinged innkeeper determined to keep him captive. This dark, unsettling film from the New French Extremity movement is available for the first in the US in high definition from a brand new restoration via Yellow Veil films. "A dark absurdist descent into hell," says Guillermo Del Toro.