Gina Ronhovde

Set in Middle America, a group of teens receive an online invitation for sex, though they soon encounter Christian fundamentalists with a much more sinister agenda.

Stu Undercoffler is a corrupt CEO whose drive for power has led him to make some highly unethical choices. Once Stu's self-serving decisions have begun to spread darkness through the world, there's no stopping it. After losing his wife, Stu begins to have a crisis of conscience but starts to believe he is being stalked and has been hallucinating. Is he losing his mind or have his former victims come back to wreck havoc on him?

After losing her husband to cancer and amassing an ungodly amount of medical debt, Molly is forced to raise her son in her car and attempt to find a way out of homelessness all while never letting her son realize the severity of their circumstances.

A silent fisherman in Texas, a blazing oil field in North Dakota, a mysterious community in Virginia, a women’s prison in Oregon, and a modernist home in California are the ostensible subjects of Austin Lynch and Matthew Booth’s new feature, GRAY HOUSE. But as meditations upon nature, isolation, decadence, and destitution, they are flawless conduits for seamless blends of documentary and narrative form, and stunning explorations of sound, image, and cinematic time. Mysterious and elusive, yet possessing an aesthetic and sensory unity (appearances by Denis Lavant, Aurore Clément, and Dianna Molzan mix with direct addresses from real-life laborers and inmates), GRAY HOUSE quietly recalibrates one’s sense of the world and our place within it.

A client begins poses for an agoraphobic photographer during a boudoir photo shoot