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August Evening follows an aging undocumented farm worker named Jaime and his young, widowed daughter-in-law, Lupe, as their lives are thrown into upheaval. Lupe is more of a daughter to Jaime than his own children, and the two try to stick together… but change is inevitable. At the heart of the story is the conflict between generations. Aging parents and grown children have difficulty expressing both their love and mutual disappointment in each other. A father recognizes the unstoppable force of time and must say goodbye to his daughter so she can start her own life. The film is naturalistic in tone, featuring humming cicadas, ethereal music, chicken farms, meaningful glances, and rustling leaves. It includes subtle romance, gentle humor and heartbreaking tragedy, but it should not be depressing. Instead, we concentrate on the Japanese idea of "mono no aware," which is difficult to translate, but involves finding peace with life’s imperfections. Heartwarming scenes highlight the bittersweet nature of life, finding resolution in the warmth of the characters, the beauty in sadness, and the universality of the human experience.

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Madonna’s directorial debut, FILTH AND WISDOM, is a hilariously sexy tale of three roommates who must delve into mischievous and naughty behavior in pursuit of bigger and brighter futures. A Ukrainian immigrant, A.K. (Eugene Hutz), finances his dreams of ‘trans-continental superstardom’ with his band, Gogol Bordello, by turning tricks as a role-playing cross dresser. As A.K. literally whips the privileged of London into shape, he also secretly pines for the object of his affection, Holly (Holly Weston), an aspiring ballerina looking for her big break while moonlighting as a slippery stripper. Meanwhile, Juliette (Vicky Mclure) steals medicine from her pharmaceutical job in hopes of quenching her dreams of helping Africa’s youth. FILTH AND WISDOM is every bit as erotic and playful as it is poignant and touching, revealing the universal struggles we all face in our pursuits of happiness.

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Léa (Elsa Zylberstein) and Juliette (Kristin Scott Thomas) are sisters. Juliette has just been released from prison after serving a long sentence. Léa was still a teenager when Juliette, a doctor, was convicted of the murder of her six-year-old son. Life together isn’t easy to begin with. Juliette has to relearn certain basics. The world has moved on and she often seems confused. Although she may seem cold and distant, her attitude stems more from her being ill at ease. Helped by some, such as the kindly but tactless social worker and her open-hearted but depressed parole officer (Frédéric Pierrot) whose confidante she becomes, Juliette is also rejected by others, particularly employers who throw her out as soon as they find out what she did. But a huge questions hangs over Juliette’s renaissance. Why did she do such a terrible thing fifteen years ago? For all the others, it’s a recurrent thought that they dare not put into words. And for Juliette, locked away in her secret, it’s a burden to bear, which holds her back from engaging in her life and believing that she too has the right to be happy.

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Theater director Caden Cotard (Philip Seymour Hoffman) is mounting a new play. His life catering to suburban blue-hairs at the local regional theater in Schenectady, New York is looking bleak. His wife has left him to pursue her painting in Berlin, taking their young daughter Olive with her. His therapist, Madeleine Gravis is better at plugging her best-seller than she is at counseling him. A new relationship with the alluringly candid Hazel has prematurely run aground. And a mysterious condition is systematically shutting down each of his autonomic functions, one by one. Worried about the transience of his life, he leaves his home behind. He gathers an ensemble cast into a warehouse in New York City, hoping to create a work of brutal honesty. He directs them in a celebration of the mundane, instructing each to live out their constructed lives in a growing mockup of the city outside. The years rapidly fold into each other, and Caden buries himself deeper into his masterpiece. As he pushes the limits of his relationships, both personally and professionally, a change in creative direction arrives in Millicent Weems (Dianne Wiest), a celebrated theater actress who may offer Caden the break he needs.

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“I was born under unusual circumstances.” And so begins “The Curious Case of Benjamin Button,” adapted from the 1920s story by F. Scott Fitzgerald about a man who is born in his eighties and ages backwards: A man, like any of us, who is unable to stop time. We follow his story set in New Orleans from the end of World War I in 1918, into the 21st century, following his journey that is as unusual as any man’s life can be. Directed by David Fincher and starring Brad Pitt and Cate Blanchett with Taraji P. Henson, Tilda Swinton, Jason Flemyng, Elias Koteas and Julia Ormond, “Benjamin Button,” is a grand tale of a not so ordinary man and the people and places he discovers along the way, the loves he finds, the joys of life and the sadness of death, and what lasts beyond time.

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