8.7
The Films Catalogue
Films
A working season of independent cinema — forty-eight new titles, twenty-three countries, one editorial hand on the wheel. Browse the program, follow a genre lane, or sit with a single still until it gives up its secret.
We do not recommend films we have not watched. We do not programme films we cannot defend. Every title below was chosen by a person who argued for it in a Tuesday room.
- This Week
- 12 new arrivals
- In Rotation
- 156 titles
- Eiga Score avg.
- 7.4 / 10
The Working Catalogue
The current season, indexed.
Filter by genre, country of production, runtime, and Eiga Score. Every filter is honest — if a film is not in the room, the catalogue will say so.
Showing 8 of 156 titles in rotation.
Load 12 moreNow Screening
Two titles the editorial desk could not stop talking about this week.
Premiere · Eiga Score 9.1
Documentary · USA · 96 min
The Light She Carries
A film by Ruth Albright. Executive producers include former TIFF programmer Lena St-Pierre and Aiko Tanaka.
For thirty-one winters, Alma Beaulieu has tended a Maine lighthouse with no automation and no assistant. Ruth Albright’s patient, observational documentary does not dramatize Alma; it simply keeps her company, frame by frame, until the architecture of a life becomes visible. The film opens with the morning foghorn and does not leave the headland until the last coal in the stove has gone out.
- Selected for Tallinn Black Nights early signal, October 2024.
- Optioned by MUBI North America, pending closing.
- Currently in 4K restoration with the filmmaker.
Premiere · Eiga Score 8.6
Narrative · Brazil · 118 min
The Inheritance of Tuesdays
A film by Caio Mendonça. Produced by Pólen Filmes. International sales: Rebeca Ferraz.
After their grandmother dies on a Tuesday, three siblings who have not spoken in four years converge on the family apartment in São Paulo to divide a lifetime of small objects. Mendonça shoots the entire film inside that apartment and the corridor outside it, and from that confinement pulls something unexpectedly tender — a portrait of inheritance as the slow, awkward work of forgiving your own family.
- Acquired by Tribeca Channel for North American streaming.
- In conversation with three European sales agents.
- Director’s second feature; first premiered at Busan.
Lane One · Documentary
Documentary — the lane we keep returning to.
Thirty-four documentary titles in rotation. We programme this lane heaviest because it is where independent form is moving fastest right now, and where members are watching most attentively.
A Note on the Score
What we mean when we say Eiga Score.
It is not a star rating. It is not a Rotten Tomatoes number. It is not the average opinion of whoever happened to log in that week. It is a curatorial instrument, and like every instrument in the editorial desk’s kit it has a job to do.
The Eiga Score is the weighted output of four signals: a film’s completion rate among members who begin it, the repeat-view rate within thirty days, the editorial rating from our nine former festival programmers, and a calibrated audience panel that is refreshed quarterly across forty-seven member countries. Each signal is weighted, each weight is published, and every weight can be appealed by the filmmaker in writing. No number on the platform is held in private.
We built it because the alternative — a single number with no provenance — was being used against the films we loved. A distributor would scroll past a 6.4 average without knowing that 6.4 was a weighted blend of two views and a hostile comment. We wanted a number a programmer could quote in a Tuesday acquisition meeting without having to defend the methodology underneath it.
The score is now used by forty-seven international film festivals — including Raindance, Tallinn Black Nights, Busan, and four others we can name publicly — as an early signal in their scouting pipelines. It has been cited in acquisition memos at MUBI, Tribeca Channel, and six international sales agents we partner with for fast-track distribution. We mention this not to brag, but because it tells you what kind of instrument we were trying to build: one that industry takes seriously without mistaking it for a verdict.
“A number is only useful if a smart, busy person can act on it before lunch.” — Aiko Tanaka, Co-founder & Editorial Director
If you are a filmmaker submitting to the platform, the score is yours to read and yours to dispute. If you are a member, the score is one piece of evidence — never the only piece — in deciding what you watch tonight. If you are a programmer or acquisitions lead, the score is a first-pass filter, the way a good festival catalogue has always been a first-pass filter. It is not the film. The film is the film.
The Editorial Desk, Brooklyn, Winter 2025.
The Catalogue, by the Numbers
A working catalogue is measured by what it does.
1.2M+
Registered members across 142 countries
Cinephiles, festival programmers, and acquisition executives — one audience, three doors in.
2,300+
Curated premieres hosted in 2024
Average 38,000 views per title in the first thirty days — the part of the job that is not glamorous and matters most.
312
Titles acquired or optioned in 2024
By distributors and streamers using the platform as a deal pipeline.
47
Festivals citing the Eiga Score
Including Raindance, Tallinn Black Nights, and Busan — used as an early signal, not a verdict.
Numbers are drawn from the platform’s public annual report, audited quarterly by an independent media auditor and republished in full at the end of each fiscal year.