You’re either already pumped about Star Wars: The Last Jedi, Blade Runner 2049, Thor: Ragnarok, and Justice League or you’ve read your fill about themmaybe both. Here are twelve fab fall films less liable to inspire déjà vu. (Remember: the smaller the distributor, the slipperier the release date; IMDB’s “Showtimes & Tickets” feature is a great way to track the film you’re looking for.)

WOODSHOCK (Sep. 22) It’s hard to say exactly what Woodshock is about beyond its star, Kirsten Dunst, tripping in a cabin by herself. But the beautiful, melancholic atmosphere evoked by the visuals and sound design promise a rich sensory experience, if not a coherent narrative. The directors, fashion stars Kate and Laura Mulleavy (of Rodarte fame), have hovered on the edges of the film world for years, hobnobbing with actors and designing costumes for Black Swan. Fans of visual experimentation will want to see what else they can do. Ryan Vu

THE FLORIDA PROJECT (Oct. 6) If you’ve seen Tangerine, easily the best film of 2015, you need no other incentive to catch director Sean Baker’s latest. It’s set in a Florida motel called The Magic Inn, tricked out in the garish colors of nearby Disney World and home to a diverse assortment of social outcasts. The focus is a young mother and her daughter, a cute little troublemaker who delights in riling up the motel manager (Willem Dafoe). As in Baker’s other films, an almost Old Hollywood-style comedy emerges from the often bleak working-class realism. That interplay makes Baker a vital chronicler of late-stage American life. RV

UNA (Oct. 6) Una is a portrait of the relationship between a precocious young woman, played alternately by Ruby Stokes and Rooney Mara, and an older neighborhood man (Ben Mendelsohn). Based on Blackbird, the play by David Harrower, this probing character study unsettles easy definitions of desire, consent, and power. The film is buoyed by some of the sharpest acting of Mara’s career in her portrayal of the passionate, slightly unhinged title character. Laura Jaramillo

WONDERSTRUCK (Oct. 20) The year’s most promising family movie seems like a can’t-miss proposition. Restless indie-film pioneer Todd Haynes (Velvet Goldmine, Carol) adapts the work of Brian Selznick, the author-illustrator behind Hugo, Martin Scorsese’s all-ages masterpiece. Wonderstruck tells two parallel stories, in 1927 and 1977, following two deaf children in New York City. The older tale is told in period style, silent and monochrome. Word is that the film got a five-minute standing ovation at Cannes. Glenn McDonald

THE KILLING OF A SACRED DEER (Oct. 27) Greek auteur Yorgos Lanthimos’s psychological thriller is already drawing comparisons with the best of Polanski. It also looks unnerving as hell. Colin Farrell stars as a successful surgeon and family man whose home life is slowly infiltrated by a young man he thinks he’s mentoring. A dark undercurrent has always run through Lanthimos’s films, but this follow-up to 2015’s The Lobster takes a step away from sometimes impenetrable absurdism and toward recognizable genre territory. If shell-shocked festival reviews are to be believed, no compromises were necessary. RV


SUBURBICON (Oct. 27) For hardcore film nerds, the Coen brothers’ films are mandatory viewing. They don’t always work (Hail, Caesar!), but when they do, they’re transcendent (Miller’s Crossing). This crime comedy reunites the Coens, as screenwriters, with frequent collaborator George Clooney, who directs. Matt Damon takes the lead as a mobbed-up suburban dad, and the trailers suggest the Coens are in their fallback mode of graphic violence played for kicks. That’s my least favorite mode, but hey: the Coen brothers! GM

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (Nov. 10) British playwright Martin McDonagh, known for his dark, gut-wrenching comedy and pointed social commentary, returns to the screen for his third film, with a stellar cast (Frances McDormand, Sam Rockwell, Woody Harrelson, and Peter Dinklage) and a provocative concept: a woman dedicates herself to humiliating the local police force, using three billboards in her town, to hold them publicly accountable for the unsolved murder of her daughter. Luke Hicks

DARKEST HOUR (Nov. 22) Historical drama enthusiasts will want to flag this British prestige picture depicting Winston Churchill’s first days in office as he prepares to square off against Hitler and the Nazi menace. That’s Gary Oldman is the lead role, and the film’s run on the festival circuit is already generating Best Actor buzz. We could use a jolt of anti-fascist heroism right about now, don’t you think? Let’s just hope the limited release includes some Triangle theaters. (Better yet, call them and ask for it.) GM

CALL ME BY YOUR NAME (Nov. 24) Walter Fasano and James Ivory’s screenplay, adapted from André Aciman’s 2007 coming-of-age novel, follows the love affair between a teenage American (Timothée Chalamet) and a twenty-four-year-old research assistant (Armie Hammer) in northern Italy, beginning with their first summer together in the early 1980s. The film, which enjoyed seismic-level critical buzz coming out of Sundance, has drawn favorable comparisons with artsy gay romances like Carol and Moonlight, and director Luca Guadagnino’s beguiling work is being mentioned alongside Pedro Almodóvar and François Ozon. Neil Morris

THE DISASTER ARTIST (Dec. 8) As someone who has seen The Room well over fifteen times and listened to The Disaster Artist audiobook twice, I can comfortably say that no cult-film event could possibly be more anticipated than this adaptation of the book. James Franco enters the bewildering life of Tommy Wiseau, creator of the “greatest bad movie ever made,” as writer Greg Sestero so accurately describes The Room. Despite its oddball subject, the book is surprisingly deft in emotion, eliciting tears of laughter and sorrow. Franco and Seth Rogen, both longtime fanboys, have their work cut out for them. LH

THE SHAPE OF WATER (Dec. 8) Guillermo del Toro’s latest has already been hailed by early critics as one of his best, most personal films. Set in a Cold War-era government research lab, it tells the story of a janitor who falls in love with an aquatic monster being held captive in the facilities. With gorgeous, surreal special effects and del Toro’s genius for turning lived experience into political allegory, this movie promises both childlike wonder and sharp political critique. LJ

DOWNSIZING (Dec. 22) Director Alexander Payne’s most ambitious film yet has a premise seemingly pilfered from the recesses of Charlie Kaufman’s desk drawer. It’s a wicked satire about a not-so-distant future in which Norwegian scientists have discovered a way to shrink people and objects to one-twelfth of their original size. As the process sweeps the world, touted as a way to save money and the planet, an average married couple, Paul (Matt Damon) and Audrey (Kristen Wiig), decides to get small and move to a new downsized community, a choice that triggers life-changing adventures. NM