“[This] illuminating doc examines the private and professional sides of an enduring film partnership.” —David Rooney, The Hollywood Reporter

Merchant Ivory is the first definitive feature documentary on the professional and personal partnership of director James Ivory, producer Ismail Merchant, and their primary associates, writer Ruth Prawer Jhabvala and composer Richard Robbins.

"Subtly dark, humorous, and wise, Good One leans into its wilderness backdrop in all of its liberating (and, sometimes, paradoxically claustrophobic) properties, which fellow hikers will recognize and hold close.” —Tomris Laffly, Harper's Bazaar

“A powerful reckoning with Indigenous Canadian history.” —Lovia Gyarkye, The Hollywood Reporter

“Jason Schwartzman gives Carol Kane a belated bat mitzvah in a winningly off-kilter comedy. Buoyed by the unlikely chemistry between its two stars, this alternately raucous and tender 'Harold and Maude' riff is the warmest work to date from microbudget auteur Nathan Silver.” —Guy Lodge, Variety

A cantor (Jason Schwartzman) in a crisis of faith finds his world turned upside down when his grade school music teacher (Carol Kane) re-enters his life as his new adult bat mitzvah student.

R; 111 minutes

“A jaunty class-war comedy.” —Variety

Isolated on a seaside estate, an entitled journalist (Billy Magnussen) and his socialite wife (Sarah Gadon) take in a mysterious grifter as a private cook (Peter Sarsgaard). When a plague descends on the island, the wily cook rouses his fellow staff to rebel and take over the mansion. Their employer suspects the cook’s coup is part of a more sinister agenda, and mind games between master and servant escalate into all-out class warfare.

NR; 98 minutes

John Hughes, 1986
PG-13; 103 minutes

“Ferris Bueller, an amazing high-school senior, leads a charmed life. First of all, he is actually popular across group lines - breaking a teen-age hierarchy that makes India's caste system look egalitarian. The jocks, druggies, heavy-metal types, preppies, losers, grinds, and popular kids all think he's swell. Why? Because he has that magic ability so prized in adolescence - he can get away with anything.” –Nina Darnton, The New York Times

Amy Heckerling, 1982
R; 90 minutes

“This movie’s DNA lives on in every pair of black-and-white-checked slip-on Vans, every utterance of ‘awesome,’ and every teen sex scene that’s honest enough to show something more truthful than soft-focus romance.” –Dana Stevens, The Criterion Collection

John Hughes, 1985
R; 97 minutes

John Hughes, 1987
R; 93 minutes

“It is perfectly cast and soundly constructed, and all else flows naturally. Steve Martin and John Candy don't play characters; they embody themselves. That's why the comedy, which begins securely planted in the twin genres of the road movie and the buddy picture, is able to reveal so much heart and truth.” –RogerEbert.com