When Perry receives $5,000 to babysit famous TikTok star Thom, she doesn't realize that she's about to embark on a wild night being handcuffed to a strange, spontaneous character.

An unspoken incident unravels the lives of two families into nightmare, fracturing time and memory.

When fourteen-year-old Jarvis Raines gets a chemistry set from his Aunt Marlene for Christmas, he assumes it's just another boring gift. Boy is he wrong! The contents create a chemical reaction that destroys his houseso much for a Merry Christmas! After getting not even an apology from the manufacturer, Knickknack Toys, Jarvis takes them to court, wins, and ends up owning the company!

A woman working in the B movie industry begins examining the industry and the damaged, desperate people who work in it.

时值1982年，以色列入侵黎巴嫩，首都贝鲁特一所基督教桂格教派的学校里，11岁的威桑还不懂战争逼近的可怕，他正烦恼着要如何跟喜欢的女生告白。威桑的老师雅丝敏和乔瑟夫乔瑟夫则试图为了学生们掩盖大人们对战争的恐惧…

1982, a film inspired by true events at the onset of the crack epidemic in Philadelphia, tells the story of a father and his efforts to protect his gifted daughter from the insidious epidemic which has literally come home via her drug-addicted mother. As his wife becomes more distant and unreliable, he struggles to raise his daughter on his own, while still striving to help his wife become clean. In the process, he learns some hard truths about his marriage and his life, which will ultimately test him as a parent, a husband, and a man.

During the 1982 invasion of Lebanon at a private school on the outskirts of Beirut, 11-year-old Wissam tries to tell a classmate about his cru…

See how Teyana Taylor dreamed up her most ambitious show to date: House of Petunia. Take an unfiltered look into the creative process for Teyana's iconic performance at Red Bull Music Festival New York.

Algerian director Hamid Benamra turns his focus to Mustapha Boutadjine, a charming, mercurial collage artist in Paris whose very work methods embody resistance, and celebrate those who work to liberate others. Boutadjine creates his portraits of Third World artists such as Miriam Makeba, and Algerian figures such as Assia Djebar from pieces of paper torn from high end fashion magazines and other, glossy, glitzy publications. Using this material is as much an act of rejecting bourgeois standards, which are often anti-North African in France, as much as elevating these figures and making them the social and visual standard against which we should judge ourselves, not the runway models of Chanel.