Irene Turner

The true story of suburban housewife Gertrude Baniszewski, who kept a teenage girl locked in the basement of her Indiana home during the 1960s.

The true story of Madalyn Murray O'Hair -- iconoclast, opportunist, and outspoken atheist -- from her controversial rise to her untimely demise.

Two college roommates -- prim and proper Grace (Cat Taber) and wild and woolly Casey (Soleil Moon Frye) -- find themselves in a tense rivalry when Casey's conduct almost destroys Grace's engagement to preppie heartthrob Charlie (Wil Wheaton). Not too high-minded to seek revenge, Grace cozies up to Casey's pal Joey (Gary Wolf), setting off a cycle of envy and mistrust that may destroy both women's lives in director Irene Turner's well-paced indie.

A musical celebrating queer cinema, which used the melody of “I Am the Very Model of a Modern Major General,” by the D’Oyly Carter Opera Company, but re-wrote the lyrics to depict queer cinema with a full choir.

The true story of suburban housewife Gertrude Baniszewski, who kept a teenage girl locked in the basement of her Indiana home during the 1960s.

The true story of Madalyn Murray O'Hair -- iconoclast, opportunist, and outspoken atheist -- from her controversial rise to her untimely demise.

Two college roommates -- prim and proper Grace (Cat Taber) and wild and woolly Casey (Soleil Moon Frye) -- find themselves in a tense rivalry when Casey's conduct almost destroys Grace's engagement to preppie heartthrob Charlie (Wil Wheaton). Not too high-minded to seek revenge, Grace cozies up to Casey's pal Joey (Gary Wolf), setting off a cycle of envy and mistrust that may destroy both women's lives in director Irene Turner's well-paced indie.

Two college roommates -- prim and proper Grace (Cat Taber) and wild and woolly Casey (Soleil Moon Frye) -- find themselves in a tense rivalry when Casey's conduct almost destroys Grace's engagement to preppie heartthrob Charlie (Wil Wheaton). Not too high-minded to seek revenge, Grace cozies up to Casey's pal Joey (Gary Wolf), setting off a cycle of envy and mistrust that may destroy both women's lives in director Irene Turner's well-paced indie.

A musical celebrating queer cinema, which used the melody of “I Am the Very Model of a Modern Major General,” by the D’Oyly Carter Opera Company, but re-wrote the lyrics to depict queer cinema with a full choir.