Morgan R. Stiff

Three poor Black kids in rural Mississippi reap the consequences of their family's cycle of abuse, addiction, and violence.

Following the death of her father, a 17-year-old girl is sent to live with her estranged family and finds comfort in a questionable friendship with a self-destructive neighbor, leading both on a startling path to self discovery.

When the last factory in a small Rust Belt town closes its doors, an unlikely hero emerges in dutiful, quiet Allery Parkes. A career employee of the factory, the aging Allery can't reconcile how to live a life simply sitting at home doing nothing. Against the advice and pleas of his loving wife Iola, he forms an unlikely friendship with his charismatic neighbor Walter Brewer in order to revive the defunct factory.

In the small Central California town where they grew up, two estranged gay brothers struggle to reconnect after the recent death of their father.

After catching her boyfriend in bed with a man, a sheltered Midwestern girl fights to find her place in a new city and discover where her true passions lie.

This collection of shorts focuses on the array of relationships boys have. Each film illustrates that there is no "norm" and how these boys are "No Ordinary Joes". Includes: Fruitcake (2003); George's Date (2005); Investigaytion (2004); No Ordinary Joe (2005); Porcelain (2004); Same Difference (2002); Spokes (1996); Work It Out (2001).

A gay Filipino man goes home with a non-Asian man that he meets at a club. When he finds a chinaman figurine and other Asian knickknacks he's confronted with the issue of how race affects desire.

JIM is comedy about a black middle-school boy named Charles and the awkward moment he’s thrust into as the class reads a beloved, American classic.

ONE BAD CAT is about the transformative role art plays in the tumultuous life of 82 year-old, African-American, renowned "outsider" artist Reverend Albert Wagner. He has been a lightening rod for controversy his entire life. Racism, ego and lust led him to the brink of ruin. Miraculously turned onto religion at age 50, he was inspired by God to paint, and become a famous artist for a mostly White clientele. From a racist Southern upbringing, in his later years his artwork railed against the lifestyles of members of the African-American community, which created as many detractors as champions. Near the film's conclusion, an ailing Albert comes to terms with his checkered past. Was Albert's penitence real and did he achieve redemption through his art?