Directed by Brett Sullivan
Musical; 141 minutes

"Hadestown is simultaneously a heart-wrenching and heart-warming magical story that is perfectly brought to life by the magnificent cast." —Justin Waldman, elementsofmadness.com

Cocoon: One Summer of Girlhood (2025): In the last days of the Second World War, the US invaded Okinawa. The fighting was fierce, as US troops tried to capture the entirety of Japan’s southernmost island of Japan. A group of 200 Japanese high school girls, known as the Himeyuri Gakutotai (Lily Princess Student Corps), had been “volunteered” to help Japanese Army medical units in the island’s many caves. But as the chaos of the frontline fighting took over, the girls were dismissed and told to go home—a near-impossible task in the midst of a battlefield.

Children Who Chase Lost Voices (2011): One of director Makoto Shinkai’s (Your Name and Suzume) earlier works, this film tells a fantasy story about Asuna, a young, introverted girl. When she is attacked by a strange creature, she is saved by a boy from the alternative world of “Agartha,” who then falls to his death. Asuna turns to her teacher, Mr. Morisaki, and together they begin the search to find this mysterious alternative world that may, or may not, be the land of the dead.

The Last Blossom (2025): Director Baku Kinoshita and writer Kazuya Konomoto, the team who brought us the wonderfully offbeat anime series ODDTAXI, pair up again to bring us the quirky film The Last Blossom. Yazuka henchman Atkutsa is on his deathbed in prison and discussing his life story with an unusual creature: a talking balsam flower growing in a tin can. In flashbacks, Atkutsa recounts his career in crime and argues that his main motivation in life was to care for his found family—Nana, the single mother he lived with, and her son, Kensuke.

ChaO (2025) is set in the near future, in an alternative Shanghai where humans and merpeople share a tense and uneasy existence. An engineer, Stephan is trying to develop a water propulsion system that is safe for fish and merpeople. When an accident causes him to meet ChaO, the princess of the merpeople, she immediately proposes to him. Although he recognizes that this union would ease tensions between the two groups, Stephan uncomfortable dating a human-sized fish—even if she does transform into a more human shape, depending on her mood.

The Girl Who Leapt Through Time (2006): In honor of its twentieth anniversary, the festival is pleased to bring back a classic anime, the Japanese Academy Award-winner The Girl Who Leapt Through Time. The first major film by Mamoru Hosoda (Wolf Children, Belle) is based on a well-known science fiction story by Yasutaka Tsutsui (author of Paprika). The film tells the tale of high school student Makoto Konno, who discovers she has the ability to go back a few minutes in time to correct a mistake.

Adolescence of Utena (1999) is a stand-alone feature film version of the groundbreaking TV series Revolutionary Girl Utena. Not a typical schoolgirl, tomboyish Utena Tenjo arrives at Ohtori Academy determined to become the prince who saves the damsel. Once there, Utena finds herself embroiled in a strange series of ritual duels to win the hand of the mysterious student Anthy Himemiya, known as the “Rose Bride.” As the story unfolds, both Utena and Anthy must discover the school’s puzzling secrets while fighting for their own personal freedom.

Directed by Kent Jones
NR; 96 minutes

"Hitchcock once said that nine-tenths of a film’s success is in the casting, by which measure Late Fame already qualifies as a hit.” — Xan Brooks, The Guardian

Directed by Rachel Israel
NR; 102 minutes

"Bright and goofy, this Jewish summer camp comedy is populated by a large number of lively characters. . . . Director Rachel Israel keeps the tone loose, using humour to explore some surprisingly meaty themes." —Rich Cline, shadowsonthewall.co.uk

Directed by Hirokazu Kore-eda
PG; Japanese with English subtitles; 126 minutes

“What [Kore-eda] offers is a new way to rethink holding our grief, and the end result is a slight and wistful poem of a movie.” —Zachary Lee, TheWrap