A 70-year-old closeted woman confronts her faith as she finally learns what true love is with the help of a sex worker named Destin.

Sitting in a restaurant representing the waiting room to the other world, a tired old man watches the patrons who represent him and his immediate family during the important moments of his life. Moments that have impacted him and the family, and have turned him into a man he was at the end of his life. The old man is forced to look these events in an objective way, observe them from the sidelines, as the judge and jury of a tragic life filled with regret, bitterness, and bad decisions. At a certain point, it becomes clear that the old man has actually died and is watching his own life.

Combat footage and old photographs from extant BBC documentary footage from the First and Second World Wars is intercut with contemporary footage of First World War veterans recalling their experiences at Royal Canadian Legion halls, memorial day commemorations and veterans' hospitals.

That's a Good Girl is a 1933 British comedy film directed by Jack Buchanan and starring Buchanan, Elsie Randolph and Dorothy Hyson. The film was based on a musical show of the same title that opened at the Lewisham Hippodrome on 19 March 1928, in which Jack Buchanan also starred. The music was written by Joseph Meyer and Phil Charig, with lyrics by Douglas Furber. The film omitted much of music of the original show, but popularised one song in particular, Fancy our Meeting. The song remained a Jack Buchanan favourite and a version of it was also recorded by Al Bowlly shortly after the film's release.

A young couple struggles to break free of the restricted world they've created together.

A quiet take on a very noisy subject—the rise of hate and intolerance against the LGBTQIA+ community—as two young brothers observe and absorb their first Drag Story Hour. A refrain of “It’s okay” underscores their experience, and this simple utterance takes on a multitude of meanings in its repetition, from assurance to question, hope to fear.

Meet Beatrice. She's happily married, has a darling young son, and is a talented artist. Her home is a happy one. Beatrice dotes on her family, and they love her back. Too bad her husband and child are not exactly alive. When Beatrice comes into some money, another family - one that's not quite so happy - decides it's more deserving of the dough and sets out to rob her by breaking into her home under the cover of night. In the course of that one evil evening, both families soon learn the true meaning of "blood relations."

A pandemic has ravaged the world outside. Julia and Volodya are a couple that suffers from Coronaphobia by taking the safety measurements far too seriously. After anticipating all the possible scenarios and doing breathing exercises, the couple reluctantly goes out to the street, a place, in Volodya’s own words, “full of COVID bastards”. Armored and hysterically, the couple arrives at an ordinary supermarket. Almost turning against each other, their suspicion is translated into episodes of excessive outrages against the local shoppers who, according to the couple, are painfully and inconsiderably carefree. Their mission seems to be a success until they encounter an unmasked shopper. From then on, things go downhill for the main characters.

Maggie, a chronic people pleaser, is always getting pushed around. But when she tries to return a lost cat to his owner, Maggie is finally pushed too far and decides to push back… in a most unexpected way.

A documentary about the underground newspaper, 'Good Times,' featuring The Floating Lotus Opera Company, The Berkeley Astrology Guild and the Good Times Commune.