A slow burning contemporary Western about a native farmer who lives and works alone in a farmhouse in the heart of a mountain forest in Northern Greece. For years now, he has been fighting with an expanding industrial Monster digging up the forest, disturbing the lush flora and threatening his property. Yet, the greatest threat comes with the sudden arrival of his young son, after a twenty-year separation. They turn into enemies under one roof. Father and son confront each other head on, with nature as their only observer, a showdown that ultimately yields an unexpected redemption for both.

The first feature for which celebrated international auteur Yorgos Lanthimos received solo directorial credit, Kinetta takes place in a desolate Greek resort town where three tenuously connected people are motivated by mysterious impulses. A plain-clothes cop pursues triple passions for cars, tape recorders, and Russian women; a lonely, lovesick clerk works as a part-time photographer; and a hotel maid aspires to be an actress through unconventional methods. Never before released in the United States, this darkly comic and insinuatingly hypnotic film comprises the extraordinary solo directorial debut from Lanthimos, whose first three narrative features (Kinetta, Dogtooth, Alps) defined the Greek New Wave before he shifted to English-language films, including Academy Award nominees The Lobster and The Favourite.

While Boyhood’s Texas is awash with pop songs, suburbs and perpetual summer, Petting Zoo offers a Texas no less alluring but with dilapidated cars in yards, feral cats and wild unsupervised childhoods. Layla is 17 years of age, comfortable with her body, bright in school and mature beyond her years, except when it comes to knowing what to do with her life, or boys for that matter. When she becomes pregnant, her estranged parents refuse to consent to an abortion (a requirement for under-18s) and so she is forced to have the baby – a decision that looks set to dictate her future. Debut director Magee avoids all clichés in this languid observational feature, with an authenticity born of the Texan native’s own struggle with teen pregnancy. Devon Keller captivates as Layla, while the film’s collaborators include producer Athina Rachel Tsangari (Chevalier, Attenberg) and cinematographer Armin Dierolf, who wistfully captures the rough beauty of the environment. - Tricia Tuttle (BFI London Film Festival)

In the middle of the Aegean Sea, on a luxury yacht, six men on a fishing trip decide to play a game. During this game, things will be compared, measured and blood will be tested. Friends will become rivals, but at the end of the voyage, when the game is over, the winner will wear the victorious signet ring: the “Chevalier”.

What else am I? What else can I say. I'm a trouble maker. I've always wanted to be a rebel, says Cory, one of the three protagonists of Pearblossom Hwy, directly into the camera. The other protagonists are Anna, an illegal immigrant from Japan who is selling her body to make money to get back home, and Jeff, Cory's homophobic brother, a former soldier who now lives day-to-day. In the style of New Wave filmmakers, the director draws on sensitive moments from actors' lives (meeting your father for the first time, a grandmother sick on another continent), so we are never sure if we are watching reconstructed reality or the director's vision. Ott warns us that his film is about the abandoned youth in the small towns of America and the fallacy of the American Dream, and most importantly, the truth that lies somewhere in that porous threshold between fact and fiction.

Jesse (Ethan Hawke) and Celine (Julie Delpy) first met in their twenties in Before Sunrise; reunited in their thirties in Before Sunset; and, now, in director Richard Linklater's amazing Before Midnight, they face the past, present and future; family, romance, and love. Now married and in Greece, the couple looks for a night of passion, but instead their idyllic night turns into a test of their relationship, and a discussion of what their future holds for them.

Part of the new wave of Greek cinema, ATTENBERG is an offbeat coming-of-age film. 23-year-old Marina is living in a small, factory town by the sea where her once-visionary architect father, has returned to die. Finding the human species foreign, she keeps her distance, choosing to observe mankind through Sir David Attenborough’s mammal documentaries and the songs of Suicide. While preparing for her father’s impending death, Marina discovers her own sexuality through lessons from her only friend, Bella, and a visiting engineer. Equal parts abstract theater and melodrama, ATTENBERG sincerely and humorously navigates the defining moments in life.