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This October, we’re summoning our demons with an expansive collection of ’80s horror and a roundup of Universal monster movies.

Cameroonian director Dikongué-Pipa’s debut feature is both a manifesto on cinema’s capacity to bring about social change and a celebration of love and its possibilities.

A high point of early Argentine cinema, Mario Soffici’s 1939 film about the plight of plantation workers is an unflinching examination of exploitation and violence.

This melodrama, made by André de Toth in his native Hungary, anticipates the unease of the director’s postwar Hollywood films with an array of radical stylistic choices and jarring visual tensions.

Sarah Maldoror’s only completed narrative feature tracks the Angolan struggle for independence from Portugal and reckons with the interlocking systems of colonialism, capitalism, and patriarchy.

A long-obscure landmark of the Iranian New Wave, Mohammad Reza Aslani’s daringly ambiguous portrait of feudalism’s demise mirrors the revolutionary times in which it was made.

Uday Shankar’s fantastical dance epic embodies a progressive, postcolonial Indian aesthetic that is decades ahead of its time.

Darius Marder’s Oscar-nominated drama captures the isolation and despair of a man who suddenly goes deaf and struggles in vain to regain his former life.

For this new illustration, Spanish artist David de las Heras combined his signature use of bold colors with the lush style of French postimpressionist Henri Rousseau, a key visual influence on Atom Egoyan’s 1994 film.

The Canadian auteur Atom Egoyan’s strip-club-set drama is an intricate tapestry of grief and trauma, held together by a longing for human connection.