An experimental documentary in which the narrator evokes his childhood memories of Cyprus, and his connection to an indelible friendship defined by separation. Through vivid recollections of their lost bond, he explores themes of longing, belonging, and on the enduring pull of his homeland that shaped them both. "Waves Won’t Stop" is an intimate look on a long journey of return.

At the end of the 1960s, when the air is filled with rock-and-roll and student rebellions are changing the world, the older of two brothers joins a prestigious newsroom of the public radio broadcaster. Not long after, he finds himself in the middle of a dangerous conflict between journalists and the secret service.

A controlling father’s attempts to ensure that his two children succeed in high school backfire after his son experiences a career-ending sports injury. Their familial bonds are eventually placed under severe strain by an unexpected tragedy.

A beautiful Western woman asks a Gypsy to watch her four-year-old child while she is taught how to swim by a flirtatious married man, before she disappears into the sea.

Waves is inspired by a short novel of Robert Louis Stevenson, The Ebb-tide, written and published in 1894, the year of his untimely death (Stevenson was 44 years old).

Waves is a visually breathtaking film about the power of the sea. Capturing the Atlantic Ocean in various moods as it crashes against the Irish coasts, the film is a hymn to the relentless power and endless beauty of this elemental force of nature. With coastal scenes harking back to the majesty of Flaherty’s Man of Aran (1934), Carey offers a unique sea-centred depiction of the islands as his painterly cinematography offers mesmerising images of roiling seas, waves crashing against the Aran rocks, sunsets and a golden full moon. John Taylor, friend and colleague of Carey, had originally worked on Man of Aran and filmed some of the additional photography in Waves.

A young Black man grapples with his toxic cycle, his day unfolding through a visual poem set to a tape cassette that weaves the rhythm of his struggles, echoing his journey toward self-awareness and change.

The long-awaited second feature film by Billy Woodberry recovers the legend, legacy and ultimately tragic life of Beat-poet Bob Kaufman (1925-1986), skillfully melding recitations of his verse together with rare archival photographs and interviews to offer a moving homage to the artist often called the “American Rimbaud.” Like Bless Their Little Hearts (1984), Woodberry’s celebrated neo-realist debut film, And When I Die, I Won’t Stay Dead chronicles with great sensitivity an unwritten chapter in the history of marginalized America, shedding new light on Kaufman’s still underappreciated poetry and the difficult struggles of the half-black, half-Jewish and fervently left-wing poet. A poet of the oral tradition, Kaufman’s verse was neither written nor recorded and threatened to disappear entirely if not for the valiant efforts of his second wife to publish her husband’s work. Equally fleeting was the figure of Kaufman himself, who once declared that his “ambition is to be completely forgotten” and who, at the height of his creative powers, took a self-imposed and apparently unbroken ten-year vow of silence in haunting lament for the assassinated John F. Kennedy. Woodberry, whose own thirty-one-year break from filmmaking is subtly acknowledged by his film, reasserts Kaufman’s fleeting yet vivid figure into the art and poetry scenes transforming Greenwich Village and San Francisco’s North Beach, offering first-hand accounts of Kaufman by fellow poets such as Jack Hirschman, as well as extraordinary photographs of the Happenings and haunts animated by Kaufman’s indelible presence. Especially resonant is Woodberry’s careful use of Kaufman’s own words, released like birds throughout the film, together with the understated fragments of the jazz and conga drums that so inspired the unique cadence and visionary language of Kaufman’s extraordinary poems. – Haden Guest

Traditional Shaolin martial training is about uniformity and repetition, focusing on body movements while the face gets overlooked. This de-facing hints that the collective is above the individual. When ...

After inadvertently killing his girlfriend, a man flees Macau for Thailand in an attempt to cope with his guilt, and avoid possible arrest. But the relocation doesn't prevent his problems from following him, as his new friends could be potential enemies.