Famed stage actress Elisabeth Vogler (Liv Ullmann) suffers a moment of blankness during a performance and the next day lapses into total silence. Advised by her doctor to take time off to recover from what appears to be an emotional breakdown, Elisabeth goes to a beach house on the Baltic Sea with only Anna (Bibi Andersson), a nurse, as company. Over the next several weeks, as Anna struggles to reach her mute patient, the two women find themselves experiencing a strange emotional convergence.

From Ryan Coogler—director of “Black Panther” and “Creed”—and starring Michael B. Jordan comes a new vision of fear: “Sinners.”

Trying to leave their troubled lives behind, twin brothers (Jordan) return to their hometown to start again, only to discover that an even greater evil is waiting to welcome them back.

“You keep dancing with the devil, one day he’s gonna follow you home.”

Written and directed by Academy Award-nominated filmmaker Coogler, “Sinners” stars Jordan (the “Black Panther” and “Creed” franchises) in a dual role, joined by Oscar nominee Hailee Steinfeld (“Bumblebee,” “True Grit”), Jack O’Connell (“Ferrari”), Wunmi Mosaku (“Passenger”), Jayme Lawson (“The Woman King”), Omar Miller (“True Lies”), and Delroy Lindo (“Da 5 Bloods”).

The film is produced by Zinzi Coogler, Sev Ohanian and Ryan Coogler. The executive producers are Ludwig Göransson, Will Greenfield and Rebecca Cho.

In the San Fernando Valley in 1977, teenage busboy Eddie Adams (Mark Wahlberg) gets discovered by porn director Jack Horner (Burt Reynolds), who transforms him into adult-film sensation Dirk Diggler. Brought into a supportive circle of friends, including fellow actors Amber Waves (Julianne Moore), Rollergirl (Heather Graham) and Reed Rothchild (John C. Reilly), Dirk fulfills all his ambitions, but a toxic combination of drugs and egotism threatens to take him back down.

Baron Meier Link is of a dying race, but the vampire doesn't intend to remain lonely much longer. Abducting women in the night is common for his kind, so what's one more? But Charlotte's father has plenty of money, and there's no price he won't pay to get his daughter back. That's why he hires D.

D is a Dunpeal, a breed rarer than that of the vampires - after all, he's half of one. When it comes to hunting those with fangs like his own, he's the best in the business. But that doesn't mean he's the only game in town. The Markus Brothers are on the vampire's trail as well, and they're not about to lose. It's a race, not only between the rival Hunters, but for the vampire and his bride-to-be. But it might be more than just a job to D. Is Charlotte really a captive? Or will another Dunpeal be born to this world?

Lola (Franka Potente) answers a red phone the same color as her punk rock hair. It’s her boyfriend Manni (Moritz Bleibtru), a small time courier for a big time gangster. He is at a pay phone with a big problem. His boss is coming to pick up 100,000 Deutsche Marks in twenty minutes, and Manni doesn’t have it. Due to an unfortunate series of events, he left it in a bag on a train. While the homeless man who grabbed the money is about to have a really good day, Lola is determined to figure a way out of this for Manni, so it’s not his last.

With Manni’s life on the line, Lola takes off running through the streets of Berlin to reach him and somehow pick up 100,000 marks along the way, making split-second decisions and encountering acquaintances, family, and strangers. She runs down sidewalks, into offices, through traffic and back again. As the clock ticks down, the tiniest choices become life altering (or life-ending) decisions, and the fine line between fate and fortune begins to blur.

Told in three variations with three endings, Run Lola Run is a fast-paced, kinetic exploration of destiny, set to a pumping dance music soundtrack and interspersed with animated interludes, flashbacks, and flashforwards that remind us of life's limitless possibilities.

Funeral Parade is proud to present Caravaggio, Derek Jarman’s highly stylised biography of one of Renaissance art’s most enduring figures. 

The year is 1610 and renaissance painter Michelangelo Merisi da Caravaggio (Nigel Terry) is wanted for murder. Having been on the run for four years, he finds himself on his deathbed, where he tended to by his young apprentice, John Jerusaleme (Spencer Leigh). As he slips away into death, Caravaggio recalls his life: his rise to prominence with the help of the Vatican; his unorthodox use of sex workers and homeless people as models for religious paintings; and his tempestuous love affairs with Ranuccio (Sean Bean) and Lena (Tilda Swinton). A biopic that’s unconventional as it is stunningly beautiful, Jarman’s Caravaggio remains a powerful portrait of the interplay between art and life from one of queer cinema’s most essential filmmakers.

Washed-up revolutionary Bob exists in a state of stoned paranoia, surviving off-grid with his spirited, self-reliant daughter, Willa. When his evil nemesis resurfaces after 16 years and she goes missing, the former radical scrambles to find her, father and daughter both battling the consequences of his past.