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.

Broke and desperate filmmaker Adolpho Rollo (Steve Buscemi) is a Manhattan wannabe in love with the mysterious woman next door, Angelica Peña (Jennifer Beals). He puts out an ad offering to sell his 'fabulous' movie script for $500, and gets a response from Joe (Seymour Cassel), who gives him a thousand and says he'll raise the 250,000 to make the picture. The problem is, Joe is a semi-connected wiseguy with a hemophiliac brother Skippy (Will Patton) and a habit of committing oddball crimes.

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.

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.

Rubber Nose Massacre follows the story of a mysterious clown who is on the loose kidnapping young women for a deadly underground game show. Two Florida Man vigilantes, Everett and Diesel, suspect their new neighbor, Snappy the Clown to be the culprit and take it upon themselves to uncover the mystery while leaving a trail of blood and destruction in their wake.

Tessa and Ben are staying in Philly for the weekend to attend Ben's high school reunion. Due to unforeseen circumstances, the couple has to rent a room in a stranger's apartment. That stranger is Adam, whose loneliness is immediately obvious to his new guests. Adam quickly becomes an unwilling voyeur to the most private parts of the couple's life. While Ben seeks validation from old classmates, Tessa is left to find her own affection within the confines of the apartment. When Tessa betrays Adam's trust, Adam goes to great lengths to assert his dominance over his home.

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.

Celebratory, shocking and raw, this film is as close to the story of the anarcho-punk band as you're going to get... Crass were an art collective and punk band that formed in Essex in 1977, and disbanded in 1984. They promoted anarchism and a movement of resistance that awakened and appealed to many. Director Brandon Spivey tells the tale of Crass's "Reality Asylum," the story and the inspiration behind the band's subversively defiant single through interviews with Crass co-founders Steve Ignorant and Penny Rimbaud, and Small Wonder record label owner Pete Stennett. 

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.

The debut feature film by acclaimed Finnish cinematographer and documentarian Erik Blomberg, this "fascinating, intoxicating and truly haunting folk horror fairy tale" (Behind The Couch) remains a pioneering shocker of shamanism, vampirism and female sexuality: Unknowingly born a witch, a frustrated young Lapland wife shapeshifts into a bloodthirsty white reindeer with an insatiable appetite for the local herdsmen.

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.

From director Keita Amemiya: The darkest force of destruction is now the only hope for salvation! In the far future, peace and violence walk hand in hand in Jesus Town, a false utopia ruled by the iron fist of Gurjev and his cyborg enforcer Michael. After a long imprisonment, Hakaider the destroyer, is enlisted in the rebel fight. Suddenly aware of the new menace, Gurjev seeks to crush the rebels and destroy Hakaider once and for all!

A documentary portrait of the unlikely decades-long friendship between actor and Pulitzer Prize-winning playwright Sam Shepard and reclusive oddball Johnny Dark, through a correspondence of handwritten letters dating back to the 1960s.

Two happy-go-lucky electricians go out on a job expecting it will be just like any other work day only to find themselves suddenly zapped into a violent virtual reality war zone! The Zone is an alternate dimension created by Iria, a cute but badass bounty hunter, and Bob, her computer side-kick, to capture and destroy Zeiram, an evil alien creature! Soon, the bumbling electricians join forces with Iria to battle Zeiram in this epic sci-fi adventure.

When a smooth jazz guitarist is demonically possessed by the ghost of Teddy Homicide, a notorious, violent punk rocker, all hell and guitar strings are sure to break loose! This is grindhouse grand-diva Roberta Findlay's, one of the lone femme auteurs of the exploitation film industry, last feature film. The mostly unseen cult film that has steadily gained in reputation since it was completed and unceremoniously shelved in 1989.  A punk era time capsule waiting to detonate! 

The masterpiece of Japanese Cyberpunk Body Horror. A strange man known only as the "metal fetishist", who seems to have an insane compulsion to stick scrap metal into his body, is hit and possibly killed by a Japanese "salaryman", out for a drive with his girlfriend. The salaryman then notices that he is being slowly overtaken by some kind of disease that is turning his body into scrap metal, and that his nemesis is not in fact dead but is somehow masterminding and guiding his rage and frustration-fueled transformation.

Dennis Hopper’s radical, much-mythologized lost masterpiece – widely unseen for nearly 50 years until now in a new 4K Restoration! Consciously self-reflexive and co-written by Hopper and Rebel Without A Cause screenwriter Stewart Stern, The Last Movie follows a Hollywood movie crew in the midst of making a western in a remote Peruvian village. When production wraps, Hopper, as the baleful stuntman Kansas, remains, attempting to find redemption in the isolation of Peru and the arms of a former prostitute. Meanwhile, the local Indians have taken over the abandoned set and begun to stage a ritualistic re-enactment of the production – with Kansas as their sacrificial lamb. Among the most storied productions of the New Hollywoood Era, Hopper was given carte blanche by Universal for his next directorial feature after the tremendous commercial success of Easy Rider, and writer-director-star took the money and ran – literally – staging The Last Movie in Peru at farthest remove from the Hollywood machine, with an on-screen entourage in tow that included Kris Kristofferson, Julie Adams, Stella Garcia, Peter Fonda, Dean Stockwell, Toni Basil, Russ Tamblyn, Michelle Phillips and director Samuel Fuller. Although it won a special award at the Venice Film Festival, The Last Movie would effectively end Hopper’s career for many years – the Hollywood establishment gleefully writing him off as a self-indulgent madman. Yet the movie remains thrillingly innovative and remarkably contemporary – influenced greatly by the work of Bruce Conner and the French New Wave, as well as the Pop and Abstract artists Hopper revered. – Jessica Hundley