Reflec­tion of the soci­ety and vec­tor of the occi­den­tal cul­ture, Amer­i­can cin­e­ma influ­ences the entire world since its debuts.

From 1984 to 2019, Lynne Sachs shot film of her father, a bon vivant and pioneering businessman. This documentary is her attempt to understand the web that connects a child to her parent and a sister to her siblings. As the startling facts mount, Sachs as a daughter discovers more about her father than she had ever hoped to reveal.

With this inventive portrait, director Kirsten Johnson seeks a way to keep her 86-year-old father alive forever. Utilizing moviemaking magic and her family’s dark humor, she celebrates Dr. Dick Johnson’s last years by staging fantasies of death and beyond. Together, dad and daughter confront the great inevitability awaiting us all.

What do filmmakers as disparate as Kevin Smith, Ed Burns, Rob Epstein, and Barbara Hammer have in common? A secret weapon known as Bob Hawk. As a veteran of the American independent film scene since its inception, the cinephile and consultant has been a regular, cherished presence at film festivals and markets for over three decades. Hawk saw promise in scrappy, independently produced films like Clerks and The Brothers McMullen when no one else even knew to look, and he brought these films to the attention of the Sundance Film Festival, thereby launching multiple careers in the process. An unsung champion of new voices, he has discovered innovative work, nurtured new talents, and brokered relationships with film festivals and critics alike, while staying out of the spotlight—until now. At 75, Bob Hawk looks back on a still-vibrant life in independent film, exploring how the rebellious gay son of a preacher found his calling as a behind-the-scenes film impresario.

How I Learned to Love the Numbers is a New York film and at the same time the study of a young man suffering from an obsessive-compulsive disorder (OCD). The Berlin filmmaker Oliver Sechting (37) and his co-director Max Taubert (23) travel to New York with the idea of documenting the art scene there. However, the project is quickly overshadowed by Oliver's OCD, and the two directors fall prey to a conflict that becomes the central theme of their film. Encounters with such artists as film directors Tom Tykwer (Cloud Atlas), Ira Sachs (Keep The Lights On), and Jonathan Caouette (Tarnation) or the transmedia artist Phoebe Legere seem more and more to resemble therapy sessions. At last, Andy Warhol-Superstar Ultra Violet succeeds in opening a new door for Oliver.