A THOUSAND CUTS Not Rated/ Documentary/Dir: Ramona S. Diaz (Maria Ressa, Pia Ranada, Rodrigo R. Duterte) In 2016, outsider candidate Rodrigo Duterte upset the political establishment in the Philippines by winning the presidency and promising vengeance and violence. The film shows two sides of an increasingly dangerous war between press and government.

COUP 53 Not Rated/Documentary/Dir: Taghi Amirani (Ralph Fiennes, Walter Murch, Taghi Amirani) A real-life thriller about the 1953 Anglo-American coup that brought down Iran’s elected prime minister. The U.S. government was the key actor in the 1953 coup that ousted Mohammad Mosaddeq and ended democracy in Iran, not the Iranian clergy.

CREEM: AMERICA’S ONLY ROCK ’N’ ROLL MAGAZINE Not Rated/Documentary/Dir: Scott Crawford (Jeff Ament, Lester Bangs, Alice Cooper) Capturing the upheaval of the ’70s, the film explores the shuttered music magazine’s beginnings in post-riot Detroit, follows its rise from underground paper to national powerhouse, then portrays its demise following the tragic deaths of its publisher, Barry Kramer, and its most famous reporter, Lester Bangs, a year later.

DESERT ONE Not Rated/Documentary/Dir: Barbara Kopple (Jimmy Carter, Walter Mondale, Ted Koppel) Using new archival sources and unprecedented access to key players on both sides, Barbara Kopple (“Harlan County, USA”) reveals the true story behind one of the most daring rescues in modern U.S. history: a secret mission to free hostages captured during the 1979 Iranian revolution.

JIMMY CARTER: ROCK & ROLL PRESIDENT Not Rated/Documentary/Dir: Mary Wharton (Bono, Garth Brooks, Roseanne Cash) Presidential nominee Jimmy Carter, a lover of all types of music, forged a bond with musicians Willie Nelson, the Allman Brothers, Bob Dylan and others. Low on campaign funds and lacking name recognition, Carter relied on support from these artists to give him a crucial boost in the Democratic primaries. Once Carter was elected, the musicians became frequent guests in the White House.

JOHN LEWIS: GOOD TROUBLE PG/Documentary/ Dir: Dawn Porter (Alexandria Ocasio-Cortez, John Lewis, Martin Luther King) Chronicles the life of the legendary civil rights activist and Democratic Representative from Georgia. Using interviews and rare archival footage, the film reviews Lewis’s 60-plus years of social activism and legislative action.

MORONI FOR PRESIDENT Not Rated/Documentary/Dir: Saila Huusko, Jasper Rischen (Moroni Benally, Zachariah George, Alray Nelson) The Navajo Nation is the largest Native American reservation in the United States. Every four years, the tribe elects its president. The film centers on Moroni Benally, an underdog candidate with radical ideas, delving into his layered identity as a gay, Mormon Navajo man.

OUR TIME MACHINE Not Rated/Documentary/Dir: S. Leo Chiang, Yang Sun (Ma Duo, Tianyi Huang, Ma Ke) Shaken by the news of his father’s dementia, Shanghai artist Maleonn creates “Papa’s Time Machine,” a time-travel adventure performed on stage with life-size mechanical puppets. Through the production, he confronts his own mortality, finding grace and unexpected joy.

OUT STEALING HORSES Not Rated/Drama/Dir: Hans Petter Moland (Stellan Skarsgård, Bjørn Floberg, Tobias Santelmann) In Norwegian, with English subtitles. Based on the best-selling novel by Norwegian author Per Petterson. Trond retires to a solitary life in the Norwegian woods after the death of his wife, but the past resurfaces.

REPRESENT Not Rated/Documentary/Dir: Hillary Bachelder (Bryn Bird, Julie Cho, Myya Jones) “Represent” follows three women who share the goal of improving communities by running for office. Myya attempts to spark a youth movement and unseat the incumbent mayor of Detroit; Bryn, a farmer and working mother in Ohio, runs for township trustee; and Julie, a Korean immigrant, is a Republican candidate for State Representative in a liberal Chicago suburb.

VINYL NATION Not Rated/Documentary/Dir: Christopher Boone, Kevin Smokler. The vinyl record renaissance over the past decade has brought new fans to a classic format. Has the return of vinyl made music fandom more inclusive or divided? What does vinyl say about our past? Has the second life of vinyl changed how we hear music and how we listen to each other?