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Brenda Jackson has the talent to become a great singer. But her other dreams interfere with her following that path. When she meets Steve Reeds she seems to have hit the jackpot-he has it all and he promises to introduce her to people in the music bizYet as time goes on, after their marriage, the promises fade and abuse becomes the norm. He even forbids her to sing around the house. Then surprisingly, he asks her to sing at a fund raiser for his new foundation. There, she is profoundly shocked to learn that his foundation helps abused women and children around the world. He is more powerful than she imagined! She finds it difficult to sing, but somehow manages to wow the audience with her angelic voice. At that banquet, she meets Bayo Franks, a music producer who gives her his card. Soon after, she finds herself pregnant. She hopes her pregnancy will soften her husband's attitude toward her, but he kicks her down the stairs, causing a miscarriage. When she returns home from hospital.

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REAL BOY is an intimate story of a family in transition. As 19-year-old Bennett Wallace navigates early sobriety, late adolescence, and the evolution of his gender identity, his mother makes her own transformation from resistance to acceptance of her trans son. Along the way, both mother and son find support in their communities, reminding us that families are not only given, but chosen.

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The King and Dai tells the story of the Porthcawl Elvis Festival, Europe's largest Elvis Tribute Festival. For one weekend every year, the otherwise sleepy seaside town turns into a celebration of all things Elvis, attracting fans and Elvis impersonators all around the world, culminating in a fascinating stew of cheesy kitsch and utter sincerity. Directed by South Wales-based David Barnes, what begins as a light-hearted portrait of the festival soon turns into an engrossing investigation; bickering and bitter fall-outs between former organisers, grapevine-rumours and chaos, throughout which Barnes attempts to deliver a coherent narrative and figure out what on Earth is going on. The festival emerges as some kind of strange metaphorical parallel with the King himself: an innocent start, buoyed by great initial success and enthusiasm, followed by all manner of backstage mayhem once things start bloating. Even if you're not an Elvis fan, there's still something magnetic about the film's mix of cheese and humanity.

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With the commercial exploitation of the American colonies, thousands of Africans are brought to Seville to be sold as slaves. Some are exported to the colonies and others stay in the city. The latter form part of a population of Afro-Andalusians, who over time manage to gain space in a society wrought with racial prejudices, whilst dealing with their situation as slaves. Music and dance will be part of their expression and the most important affirmation of their identity. From the outskirts of cities like Seville and Cadiz they give shape to the popular music of the time, together with other marginalised communities such as the gypsies, moors and Andalusians on the cities' peripheries. From the XIX century, the black population begins to disappear, partly being assimilated into parts of the community like that of the gypsies. In this same century we start to hear about a new type of music: Flamenco. Since its beginning theorists who have spoken about this art form have completely forgotten the fundamental contribution the Afro-Andalusians made to it.

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Lee and Opal Sexton live in the mountains of Eastern Kentucky, farming the land where Lee was raised. Lee is a retired coal miner and revered banjo legend, a living link to the deep past of American music. Though now well into his eighties and hampered by age, Lee continues to perform and teach his distinctive 2-finger banjo style to a new generation eager to preserve a vanishing cultural tradition. Linefork offers an immersive view of Lee and Opal's daily rituals and inherent resilience while documenting the raw yet delicate music of a singular musician, linked to the past yet immediately present.