A law-breaking comedian who is grappling with her gender identity forms a new anti-comedy troupe with a friend and finds herself battling a fascistic caped crusader.

This revolutionary DIY parody film and hilarious reimagining of the classic autobiographical coming-of-age story follows an unconfident, closeted trans girl as she moves to Gotham City to make it big as a comedian by joining the cast of UCB Live - a government-sanctioned late night sketch show in a world where comedy has been outlawed. 

As mainstream success eludes our heroine, leading her to unite with a ragtag team of rejects, misfits, and a certain love interest named Mister J, "Joker the Harlequin" is born again as a confident (and psychotic) joker on a collision course with the city's fascist caped crusader. Vats of feminizing chemicals, sexy cartoon interludes, scarecrow psychiatrists, CGI Lorne Michaels, and psychedelic gender dysphoria all play supporting roles. 

Helmed by writer/director/editor/star Vera Drew and using her own life experiences as a basis for the film, THE PEOPLES JOKER is a deeply personal journey that's as much documentary as it is parody.

After a string of bizarre bank robberies in Southern California, with the crooks donning masks of various former presidents, a federal agent, Johnny Utah (Keanu Reeves), infiltrates the suspected gang. But this is no ordinary group of robbers. They're surfers -- led by the charismatic Bodhi (Patrick Swayze) -- who are addicted to the rush of thievery. But when Utah falls in love with a female surfer, Tyler (Lori Petty), who is close to the gang, it complicates his sense of duty.

Jeanne Dielman (Delphine Seyrig), the widowed mother of a teenage son, Sylvain (Jan Decorte), ekes out a drab, repetitive existence in her tiny Brussels apartment. Jeanne's days are divided between humdrum domestic chores -- shopping, cooking, housework -- and her job as an occasional prostitute, which keeps her financially afloat. She seems perfectly resigned to her situation until a series of slight interruptions in her routine leads to unexpected and dramatic changes.

A young man (Philippe Noiret) who is a native of the seaside village of La Pointe Courte, France is having a hard time understanding why his bored, Paris-born wife (Sylvia Montfort) of four years is unhappy with their marriage. The couple visit La Pointe Courte as they try to resolve their problems. Meanwhile, the locals of the rural community grapple with the hardships and tragedies of their daily lives: A young child dies, a government official hassles fishermen and a marriage is arranged.

In the early 1960s in Paris, two young women become friends. Pomme is an aspiring singer. Suzanne is a pregnant country girl unable to support a third child. Pomme lends Suzanne the money for an illegal abortion, but a sudden tragedy soon separates them. Ten years later, they reunite at a demonstration and pledge to keep in touch via postcard, as each of their lives is irrevocably changed by the women's liberation movement. A buoyant hymn to sisterly solidarity rooted in the hard-won victories of a generation of women, One Sings, the Other Doesn't is one of Agnès Varda's warmest and most politically trenchant films, a feminist musical for the ages.

Selfish pop singer Cléo (Corinne Marchand) has two hours to wait until the results of her biopsy come back. After an ominous tarot card reading, she visits her friends, all of whom fail to give her the emotional support she needs. Wandering around Paris, she finally finds comfort talking with a soldier in a park. On leave from the Algerian War, his troubles put hers in perspective. As they talk and walk, Cléo comes to terms with her selfishness, finding peace before the results come back.

On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman.

A young woman's body is found frozen in a ditch. Through flashbacks and interviews, we see the events that led to her inevitable death.

In suburban Paris, young François (Jean-Claude Drouot) appears to live a happy, contented existence with his wife, Therese (Claire Drouot), and their two small children. Despite his apparent satisfaction, François takes a mistress named Emilie (Marie-France Boyer), and, remarkably, doesn't feel the least bit of remorse for his philandering. While he is able to justify loving both women, François' infidelity results in tragic real-life consequences for both him and his family.

An 1867 painting by Jean-Francois Millet inspired septuagenarian documentarian Agnes Varda to cross the French countryside to videotape people who scavenge. Taking everything from surplus in the fields, to rubbish in trashcans, to oysters washed up after a storm, the "gleaners" range from those sadly in need to those hoping to recreate the community activity of centuries past, and still others who use whatever they find to cobble together a rough art. Highlighted by Varda's amusing narration.

Scientist Shane Brown (Vincent Gallo) neglects his new bride (Tricia Vessey), instead spending their honeymoon searching for an old colleague who disappeared after a research paper he had written was discredited by the medical community. It turns out that Dr. Semeneau is living in obscurity in order to protect his wife (Béatrice Dalle), whom he keeps prisoner in a room with boards nailed across the doorway. The narrative unfolds the dark secret that drives each party.

When a demon takes possession of her, high-school hottie Jennifer (Megan Fox) turns a hungry eye on guys who never stood a chance with her before. While evil Jennifer satisfies her appetite for human flesh with the school's male population, her nerdy friend, Needy (Amanda Seyfried), learns what's happening and vows to put an end to the carnage.

Reality and fantasy begin to blur when a teenager, alone in her attic bedroom, immerses herself in a role-playing horror game online.

Barbara Loden’s first and only feature film as a director is a portrait of a woman adrift. Set against the stark industrial backdrop of eastern Pennsylvania, Wanda (Loden) passively detaches from her domestic life, falling into a bleak partnership with a petty criminal. Shot in grainy 16mm, Wanda is a landmark of American independent cinema.

Wanda is screening as part of Women in Flux, presented in association with the National Film and Television School’s Film Studies, Programming and curation MA.