Filmed on a bygone video camera, Stinking Heaven immerses you in the darkest crevices of the 1990s: a rehab commune housing a coven of colorful yet caustic personalities. A lucid vision of Sartre’s assertion that “hell is other people,” written with an utmost sincere sense of anarchy. Oddly sublime.

Sean Price Williams’ extraordinary camerawork is unmissable in this striking dark comedy directed by indie mainstay Nathan Silver. His camera fixates on a group of friends (including Esther Garrel!) in extreme close-up as a range of atmospheric colors permeate their faces.

Acts of care are at once comforting and stifling in Nathan Silver’s stunning drama, a humorous yet tense look at family roles and the need to belong. Shot on handheld digital cameras, the jagged, highly textured cinematography echoes the whirlpool of adulthood, stirred by financial precarity.

Extracting truth out of improvisation, Nathan Silver’s stormy drama delves into the underbelly of New York, populated with lost souls trapped in cycles of addiction. Probing the ties of religion, family, and community, this bracing character study charts the difficult path towards rehabilitation.