After realizing that all world is spoiled, Marie and Marie are committed to be spoiled themselves. They rip off older men, feast in lavish meals and do all kinds of mischief. But what is all this leading to?

A truly unforgettable debut, Emma Seligman's acclaimed Shiva Baby finds the sweet spot between distress and hilarity. Led by a commanding performance from Rachel Sennott, the film's masterful formal construction heightens its darkly comedic, sex positive take on family, religion, and sugar daddies.

Jeanne Dielman (Delphine Seyrig), the widowed mother of a teenage son, Sylvain (Jan Decorte), ekes out a drab, repetitive existence in her tiny Brussels apartment. Jeanne's days are divided between humdrum domestic chores -- shopping, cooking, housework -- and her job as an occasional prostitute, which keeps her financially afloat. She seems perfectly resigned to her situation until a series of slight interruptions in her routine leads to unexpected and dramatic changes.

A spoiled and self-absorbed man who has squandered his inheritance, Henry Graham (Walter Matthau) is desperate to find a way to maintain his lavish lifestyle. Henry sees an opportunity when he meets Henrietta Lowell (Elaine May), an awkward and bookish heiress. Though Henry courts Henrietta, he has no intention of remaining with her, and he develops a surprisingly sinister scheme. As Henry attempts to execute his plan, he finds that seeing it through may not be as easy as he had thought.

When a beautiful stranger leads computer hacker Neo to a forbidding underworld, he discovers the shocking truth--the life he knows is the elaborate deception of an evil cyber-intelligence.

The crowning triumph of a career cut tragically short, the final film from Larisa Shepitko won the Golden Bear at the 1977 Berlin Film Festival and went on to be hailed as one of the finest works of late Soviet cinema. In the darkest days of World War II, two partisans set out for supplies to sustain their beleaguered outfit, braving the blizzard-swept landscape of Nazi-occupied Belorussia. When they fall into the hands of German forces and come face-to-face with death, each must choose between martyrdom and betrayal, in a spiritual ordeal that lifts the film's earthy drama to the plane of religious allegory. With stark, visceral cinematography that pits blinding white snow against pitch-black despair, THE ASCENT finds poetry and transcendence in the harrowing trials of war.