Billie Eilish – Hit Me Hard and Soft: The Tour (Live in 3D) (May 8 – Theatres)

The first of two concert films on this list, Billie Eilish – Hit Me Hard and Soft: The Tour (Live in 3D marks an innovative, immersive collaboration between two artists at the top of their form. With James Cameron’s dynamic, technical wizardry feeding off Billie Eilish’s energetic stage presence and impressive vocal range, the film aims not only to absorb audiences but also to place them directly in Eilish’s shoes. Though it may be a love letter to fans, it offers a prime seat only the silver screen can conjure.

Obsession (May 15 – Theatres)

In the decade since “elevated horror” horror became a critical buzzword, the genre’s been inundated with self-serious experiences that sacrifice zany, devilish thrills for artistic resonance. Curry Barker’s fearsome debut, Obsession, obliterates that line, with an absurdly simple setup that quickly becomes intensely nerve-wracking and darkly hilarious.

Centering on Bear (Michael Johnston), who has long crushed over his childhood friend, Nikki (Inde Navarrette, an unabashed star in the making), finds yet another attempt to profess his love sputter and die. While in the possession of a seemingly innocent, by supernatural trinket, he sullenly wishes for her undivided reciprocation. Suddenly, Nikki obsesses over Bear to a gnarly, sinister degree, relinquishing every bodily and spiritual need in a feverish bid to be next to him forever. As it uncomfortably lingers on almost every cringe-inducing frame, Obsession revels in every bit of comedic catharsis and terror it yanks out of audiences.

I Love Boosters (May 15 – Theatres)

Director Boots Riley follows up his debut feature, Sorry to Bother You, with another raucously zany, anti-capitalist satire with I Love Boosters. Set in a hyper-saturated, surreal version of the San Francisco Bay area, the film follows a group of professional shoplifters—dubbed “boosters”—led by Keke Palmer’s Corvette who target the world of designer clothes after their designs are stolen by a high-end mogul (Demi Moore). Armed with a sharp sense of Maximalism and boasting a who’s who ensemble featuring Taylour Paige, Naomi Acke, Lakeith Stanfield, and Don Cheadle, to name a few, expect Riley’s film to envelop the senses as it fiercely tackles class solidarity and wealth disparity.

Tuner (May 29 – Theatres)

After garnering a 2023 best documentary Oscar for Navalny and a buzzy premiere at TIFF 2026, Toronto native Daniel Roher confidently pivots to scripted filmmaking with Tuner. Taking a page out of Edgar Wright’s Baby Driver, the high-concept thriller stars Leo Woodall as a piano tuner with an acute auditory condition whose meticulous skillset translates into an innate aptitude for safecracking. Co-starring Dustin Hoffman, the film embroils us in has descent into the criminal underworld while he sifts through a budding romance with a music student (Havana Rose Liu). Come for the nail-biting suspense, stay for the loveable thief.

Backrooms (May 29 – Theatres)

After popularizing eerie liminal spaces with his video series “The Backrooms”—based on the infamous creepypasta of the same name—director Kane Parsons, who is also A24’s youngest feature filmmaker, takes his viral vision to the big screen with the aptly titled Backrooms. Starring Chiwetel Ejiofor and Renate Reinsve, Parsons’ film sensory-pervading dive into an otherworldly dimension, full of shocking revelations and even more excruciatingly unanswered questions. Here’s hoping Backrooms not only continues to take the internet by storm, but the horror landscape as well.

Classic Pick of the Month: The Last Waltz (May 1 – Mubi)

Martin Scorsese’s The Last Waltz is less a concert film and more a document of both a band at a specific moment and the collective experiences that led up to it. Entwining footage of The Band’s legendary farewell tour—which includes enthralling performances from the likes of Bob Dylan, Joni Mitchell, and Neil Young— with textured backstage interviews, it manifests as a singular experience. Defined by frequent full-body chills, Scorsese’s film deftly captures lightning in a bottle as it profiles the beauty and pain embedded in rock musicianship. By the time its heavenly rendition of “I Shall Be Released” lights up the frame, we’ve already discovered a different kind of nirvana.