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Turning her back on her wealthy, established family, Diane Arbus falls in love with Lionel Sweeney, an enigmatic mentor who introduces Arbus to the marginalized people who help her become one of the most revered photographers of the twentieth century.

Adam, a lonely man with Asperger's Syndrome, develops a relationship with his upstairs neighbor, Beth.

Combining real and fictional events, this movie centers around the historic 1986 World Series, and a day in the life of a playwright who skips opening night to watch the momentous game.

When an American woman begins a dangerous relationship with an attractive immigrant worker, in order to save her marriage, she finds her true self.

Since college, Nora hasn't had much luck with men. Now in her 30s, she works in a NYC hotel going nowhere. That is, until she meets Julien.

A young blogger at a New York fashion house shoots behind-the-scenes interviews on his cell-phone.

Over the course of a single day, four different men visit a massage parlor looking for some kind of emotional or physical connection. Simultaneously, the film explores the complex emotional experiences of the women who work there.

Filmmaker Richard P. Rogers tried for twenty years to make a documentary about his own life. He died in 2001, leaving the project unfinished, until his widow, acclaimed photographer Susan Meiselas, commissioned his former student Alexander Olch to make a film out of the pieces. Starting in the Hamptons, in the town of Wainscott, the film weaves Rogers' footage into a journey through childhood memories, a less than encouraging mother, a family background of privilege, and Rogers' persistent, dogged attempts to document his own life. Rogers' friend, actor and writer Wallace Shawn, joins in the process, as the film investigates the differences between documentary and fiction, and tells the tragic story of Rogers' life.

The camera is entirely untethered, slowly moving in a single tracking shot through a long corridor where workers are enjoying their lunch hour at the Bath Iron Works, a massive shipyard in Maine.

Video-installation artist Mika Rottenberg creates mini-factories, farms, and tableaux, which produce products variously made by tremendously fat, tall, muscled, long-haired or long-fingernailed women. Women, who in their own lives commodify their eccentricities, are, in Rottenberg's films, featured as "bearers of production." To make their merchandise, the protagonists have to pedal, squeeze, cry, sweat, massage, dig, push, burrow, morph, cross continents, and use more than a bit of alchemy. Every detail and orthodoxy is taken to its extremes, turned upside down. You smell the flowers and sweat; you hear the sounds of breathing, nails tapping, sweat sizzling, milk hitting tin; you feel the breezes, and the squeezing of flesh, its bursting out of constraints. Yet Rottenberg treats the superabundance with such normalcy it makes me laugh.

Five static shots of workers leaving a factory. Filmed in the spirit of the Lumiere Brothers.