Growing Op is a provocative dramatic comedy about a teenage boy coming of age in a suburban marijuana-growing operation...    »

Gospel Hill is about haunted men, the former sheriff of the southern town dealing with past sins, and the former civil rights worker withdrawn since the martyrdom of his father thirty years before. Their final confrontation comes when a corporation descends on the town, echoing a struggle thirty years old.

They're in their 20s. He works in a video store; he's eager, chatty, sleeps in his car. She rents adult films, looks disheveled, rarely speaks. He chats her up, she brushes him off. He takes her address from store records and contrives to run into her. He rings her doorbell; she tells him to go away. He invents a story of a great-aunt who's died; she lets him in but holds a butcher knife between them. So it goes. He presses for a relationship; she ignores him, insults him, or yells. He's persistent, inviting her out, cooking, washing her hair. Both have demons and, as their natures become more clear, his addictive personality and her sex nausea may be on a collision course.

Wondering about the meaning and modalities of their triage, presumably to live or burn, Jewish Auschwitz barrack mates start to debate on how or why God can allow (his) people to suffer such fatal misery, which even further divides a devout father and his liberal son. They eventually form a Thora court, which hears theological argumentation as well as practical considerations.

A disgruntled music critic travels cross-country with her inheritance -- a Jack Russell Terrier named Binky.

How do children respond to tragedy? On an icy road near Chicago, Marianne dies in a crash, leaving Joe and their daughters, Kelly, about 16, and Mary, about 9. That summer, a friend from Joe's graduate student days, 20 years before, arranges a teaching job for him in Genoa. When they arrive in June, Joe starts teaching and the girls have the summer before school starts: Kelly quickly falls in with youths her age; their club and beach life leads to sexual awakening. Mary, burdened by guilt for her mother's death, is solitary. The girls take piano lessons, Mary draws, and she also sees and talks to her mother. Joe asks them, "Are you okay?", but is that enough?

Takes place in the days before Christmas near a little-known border crossing on the Mohawk reservation between New York State and Quebec. Here, the lure of fast money from smuggling presents a daily challenge to single moms who would otherwise be earning minimum wage. Two women - one white, one Mohawk, both single mothers faced with desperate circumstances - are drawn into the world of border smuggling across the frozen water of the St. Lawrence River. Ray and Lila - and a New York State Trooper as opponent in an evolving cat-and-mouse game.

Miles Kody, is a documentary filmmaker. Living off a long ago success he's now searching for his "second" break. He finds that in the seedy world of snuff films. He interviews Vic, a seasoned pro with a menacing, mysterious dark side. Miles becomes obsessed with the subject matter and his subject. Miles' primary investor, Carl, is also very interested, more in the hypnotic allure of the movies and potential for profit. As Miles tapes his interviews with Vic he becomes aware of the appearance of "ghosts" captured on his video monitor. He realizes that the faint energy fields of these ghosts, past victims of the snuff films, are picked up more readily on video. As a ghost becomes more powerful they become more visible to the naked eye. He soon realizes that Vic is in league with the Devil and delivers the souls of his victims to attain more power.

The film is a split narrative set simultaneously in contemporary London and in a future metropolis ruled by religious fervor. It's the story of four lost souls, divided by two parallel worlds, on course for an explosive collision when a single bullet will decide all their fates.