The Thorn in the Heart (L'Epine dans le Coeur) is a personal look at the life of the Gondry family matriarch, Michel's aunt Suzette Gondry, and her relationship with her son, Jean-Yves. Michel examines Suzette's years as a school teacher and her life in rural France. During the course of filming the documentary, Michel unearths new family stories and uses his camera to explore them in a subtle and sensitive way.

American jazz musician Billy Tipton developed a reputable touring and recording career in the mid-twentieth century, along with his band The Billy Tipton Trio. After his death in the late 80s, it was revealed that Tipton was assigned female at birth, and his life was swiftly reframed as the story of an ambitious woman passing as a man in pursuit of a music career. The genre-defying documentary NO ORDINARY MAN seeks to correct that misrepresentation by collaborating with trans artists. As they collectively celebrate Tipton’s story as a musician living his life according to his own terms, they paint a portrait of a trans culture icon.

Director Charlotte Le Bon’s Falcon Lake is both a love story and a ghost story. During a lakeside vacation, a shy teenager experiences the joy and pain of first love when he forms a bond with an older girl. Falcon Lake was a selection of the 2022 Directors’ Fortnight at the Cannes Film Festival.

Narrated by Dustin Hoffman, Visual Acoustics celebrates the life and career of Julius Shulman, the world's greatest architectural photographer, whose images brought modern architecture to the American mainstream. Shulman captured the work of nearly every major modern and progressive architect since the 1930s including Frank Lloyd Wright, Richard Neutra, John Lautner, and Frank Gehry. His images epitomized the singular beauty of Southern California's modernist movement and brought its iconic structures to the attention of the general public.

NIGHT FLIGHT PLUS EXCLUSIVE: A mysterious egg contains an impish creature who can grant great power, for good or evil. Brendan Bean, a kindly family man, finds himself face to face with the bizarre creature, and before long a friendship for the ages develops. Meanwhile, the depraved Benny Piazza leads his deranged militia on a violent quest to reclaim the magical homunculus. "I knew that whatever home our DIY mutant of a film Hoagie found for its streaming premiere would need to be unique. Its members would have to be eclectic, genre-literate, adventurous and hopefully a little demented. And so here we are, and what better place to be than the hallowed halls of Night Flight? Thanks so much for having us, I hope you have a blast with our disgusting, ridiculous, squishy creation." —Matt Hewitt, co-writer & director of Hoagie

Mellodrama explores the rising and falling fortunes of the Mellotron, from its birth in a California garage in the 1950s, through its dominance on concert stages in the 1970s, through its almost religious cult of followers in the twenty-first century. The first musical keyboard to "sample" the sounds of other instruments, the Mellotron became the "instant magic sound" through the music of the Beatles, the Zombies, and the Moody Blues. In the 1970s, the Mellotron defined the sound of progressive rock bands like King Crimson, Roxy Music, and Genesis. Directed by Dianna Dilworth, Mellodrama features interviews with composers Jon Brion (Boogie Nights) and Fabio Frizzi (The Beyond) and musicians Brian Wilson, Tony Iommi, and more.

Hellaware gently satirizes the world of high-brow art through the eyes of a wannabe photographer who becomes consumed by the bright lights of mainstream success. Jaded by the “incestuous, New York, socialite shit” that sells at prominent art galleries, Nate (Keith Poulson) embarks on a quest for a more authentic brand of contemporary art. When a coked-up YouTube search leads to a music video from Delawarean Goth rappers Young Torture Killers, an Insane Clown Posse knock-off, Nate knows he’s found his subjects. He soon drags his friend-with-benefits Bernadette (Sophia Takal) to rural Delaware to shoot the group playing in their parents’ basement. To “immerse himself” in the group’s culture and add an extra layer of realism to his work, Nate befriends the rappers and makes return trips to get to know them. But as his relationship with the group develops, he becomes increasingly aware that, while you can take the boy out of the art world, you can’t take the art world out of the boy.

Out of Time: The Material Issue Story examines the tragic story of a rock band on the cusp of superstardom cut short by front man Jim Ellison’s suicide. The film tells the story of Material Issue, a power pop trio from Chicago that was literally out of time, sandwiched between the post-punk era of the 80's and the alternative rock movement of the 90's searching for its identity in the gritty world of rock and roll. The film features original band members Mike Zelenko and Ted Ansani with the first interviews of the family of Jim Ellison since his passing along with others that helped shape the world of the band including Jeff Murphy, Joe Shanahan, Jay O'Rourke, Jeff Kwatinetz, Matt Pinfield, Steve Albini and more.

"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.

A bare-boned independent drama with brief but meaningful touches of gentle comedy, Actual People is a poignant triumph, a simple but effective voyage into the mind of a young woman trying to find herself in a world that has somehow become hostile to those who refuse to find a place within its preconceived standards. As a debut, and a film in general, Zauhar’s work here represents an auspicious start to a very promising career for someone who is likely to become an essential voice in contemporary cinema, if this film is anything to go by.

Frank Sidebottom was a performer who happened to wear a huge paper mâché head. Or he was a real person. It rather depended whom you asked. Being Frank: The Chris Sievey Story tells the twisted tale of a split personality, exploring the extraordinary secret life of a songwriter, artist, comedian and wayward genius. Sievey’s life was a fantastical, subversive piece of performance art. His greatest creation, the mysterious Frank Sidebottom, became a star – a manic, insane, mercurial star who obscured his own creator. Chris, who grew to resent Sidebottom, descended into alcoholism and bankruptcy, but his genius could not survive without ‘Being Frank’. "

Pushing at the limits of non-fiction cinema, A Man Imagined is a bracingly intimate and hallucinatory portrait of a man with schizophrenia surviving amidst urban detritus and decay. Made in close collaboration with 67-year-old Lloyd, this immersive documentary fable follows the jagged path of a decades-long street survivor, across harsh winters and blistering summers, as he sells discarded items to motorists, sleeps in junkyards and lapses into near-psychedelic reveries.

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.

Marnie is 23, and drifts through "Funny Ha Ha," Andrew Bujalski's critically acclaimed debut feature, in search of romance and employment. The film's conversations sound improvised and the narrative rhythms appear loose and ambling as it paints a deft group portrait of recent college graduates-Marnie’s friends, co-workers and would-be lovers. But this scruffiness is a bit deceptive, as the film has both a subtle, delicate shape and a point. By the end of the film, Bujalski proves to be one of America’s most acute and intelligent young dramatists, utilizing 16mm film to probe and reveal the curious facts and stubborn puzzles of contemporary life.

October, 2008. Young nun Colleen (Addison Timlin) is avoiding all contact from her family, until an email from her mother (Ally Sheedy) announces, Your brother is home. On returning to her childhood home in Asheville, NC, she finds her old room exactly how she left it: painted black and covered in goth/metal posters. Her parents are happy enough to see her, but unease and awkwardness abounds. Her brother is living as a recluse in the guesthouse since returning home from the Iraq war. During Colleen's visit, tensions rise and fall with a little help from Halloween, pot cupcakes, and GWAR. Little Sister is a sad comedy about family, a schmaltz-free, pathos-drenched, feel-good movie for the little goth girl inside us all.

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.

An up-close cinematic walkabout through the life of Gary Young, the original (and highly unlikely) drummer of indie rock royalty Pavement. His booze and drugs-fueled antics (on-stage handstands, gifting vegetables to fans) and haphazard production methods (accidentally helping launch the lo-fi aesthetic) were both a driving force of the band's early rise and the cause of his eventual crash landing. Leaving a wake of joy and/or destruction at every turn, Gary teeters the thin line between free-form self-expression and chaotic self-destruction. Thirty years on with scoliosis, blood clots, and a shriveled liver, Gary continued drumming with no regrets.

Sex and Broadcasting is a human, and humorous, look at New Jersey’s WFMU, a radio station that refuses any programming boundaries. Most of its disc jockeys are unpaid volunteers, working for their love of surprising, spontaneous radio. They play everything from flat-out uncategorizable strangeness to every form of rock and roll, experimental music, jazz, psychedelia, hip-hop, hand-cranked wax cylinders, gospel, Inuit marching bands, R&B, C&W, radio improvisations, spoken-word collages, and throat singers of the Lower East Side. Their captain is station manager Ken Freedman, who has spent the past three decades keeping WFMU alive, independent, and one of a kind. The film weaves personal stories of WFMU’s eccentric DJs with an exploration of the 21st-century media landscape that has made the station such a rarity.