Now that 2015 is over, it comes time to look at this year and what it offers in terms of films. Short answer: a lot. This is a list of just some of the films that we know (or at least are pretty sure) are coming out this year, leaving out the major tentpole projects that you’ve heard talked about on literally every other website in the known universe.

Silence (Paramount, release date TBA)

Martin Scorsese has talked about doing this movie (adapted from the Japanese novel of the same name, previously adapted by Masahiro Shinoda) for so long that the fact that yes, it’s finished and will be ready for release this year, is nothing short of a miracle. And there’s no Weinsteins to muss things up like they did with his last long-gestating passion project! The film, with a script by Scorsese’s regular collaborator Jay Cocks, tells the story of Jesuit Portuguese Catholic priests (Andrew Garfield and Adam Driver) who come to Japan to spread the word about Christ and to meet with their mentor (Liam Neeson, working with Scorsese for the first time since Gangs of New York), only to encounter violence and persecution. It will be shot (on 35mm) by Rodrigo Prieto, the ace DoP who shot Scorsese’s Wolf of Wall Street, with sets and editing, respectively, by Scorsese mainstays Dante Ferretti and Thelma Schoonmaker.

Knight of Cups (Broad Green, March 4)

The release of this, Terrence Malick’s third film in five years(!!!), will mean that only one of three of his in-development projects will see the light of day this year, although perhaps Weightless and Voyage of Time (which are owned by the same company) will follow Knight. Based on reviews, it sounds like those who’ve been turned off by Malick’s increasingly abstract style probably need not apply, with its story of a Hollywood screenwriter (Christian Bale) plagued by emptiness and the loss of the loves of his life (Cate Blanchett and Natalie Portman). However, those who found a lot to like in To the Wonder will likely find a lot to like here. And hey, any chance to get some sweet Emmanuel Lubezki cinematography is a good one.

The Lost City of Z (Paramount, release date TBA)

Perhaps it’s telling that James Gray’s latest project is his second studio film (after We Own the Night), coming after the Weinstein-instigated mishandling of The Immigrant. But either way, as far as I’m concerned, Gray has yet to put a wrong foot forward, so I’m looking forward to this, his adaptation of the nonfiction book of the same name, following a British explorer (Charlie Hunnam, taking a role originally considered for the film’s producer, Brad Pitt, as well as Benedict Cumberbatch) as he tries to find the mythic City of Z in Brazil only to disappear in the process. Robert Pattinson, Sienna Miller, and Tom Holland costar, and I hope they can make up for the driftwood playing the lead, or that Gray is miraculously able to get something out of Hunnam. As I’ve excitedly talked about before, Gray’s DoP on The Immigrant, our Lord and Savior Darius Khondji, will be shooting the film.

Midnight Special (Warner Bros., March 18)

Jeff Nichols’ first studio film is also his first science-fiction film, reportedly inspired greatly by John Carpenter’s Starman. It stars, who else, Michael Shannon as the father of a boy with unexplained powers, going on the road to dodge those after the boy, namely the leader of a religious sect (Sam Shepard) and the head of a government task force (Adam Driver again). Other than Shannon, the film shares many of Nichols’ technical collaborators from his first three films, namely cinematographer Adam Stone and composer David Wingo. It could potentially be Nichols’ first of two films in 2016, with his Loving, about an interracial couple jailed for getting married, in production and featuring two of Special‘s actors, Shannon and Joel Edgerton.

Hail, Caesar! (Universal, February 5)

You’ve probably seen the trailer for this, the Coen brothers’ latest, and you know that it seems to be in the vein of their wacky comedies, a kidnapping farce set in a Hollywood studio (the same studio Barton Fink tried to write a Wallace Beery wrestling picture for) in the 1950s. You’ve probably also heard from me that not only is this the Coens’ reunion with Roger Deakins, it’s Deakins’ first film shot on 35mm since True Grit. You’re probably going to see it. As well you should.

Love and Friendship (distributor and release date TBA)

Only four years after Whit Stillman broke fourteen years of radio silence with Damsels in Distress, he returns with his fifth film, a reunion with his Last Days of Disco stars Chloe Sevigny and Kate Beckinsale and his first adaptation, of a Jane Austen novella, no less. It tells the story of the widowed Lady Susan, who stays with her in-laws to avoid nasty rumors about her private life and, while there, decides to find her and her daughter husbands. It will make its debut at Sundance.

Everybody Wants Some (Paramount, April 15)

Yeah, the trailer for this, Richard Linklater’s latest and a “spiritual sequel” to his Dazed and Confused, stunk. But most of Linklater’s work is impossible to fully convey in two minutes, and god knows Dazed and Confused‘s trailers didn’t look a lick like what the real thing was. So, the bad trailer is almost a badge of honor, showing that Linklater made a movie that’s still impossible for a major studio to market without cutting gags out of context in hopes of getting the fratboy audience. What helps is the fact that it’s backed by Annapurna Pictures, although they also backed Joy, so…

Untitled Woody Allen Project (distributor and release date TBA)

What, you expected me to not include this? As always, nothing is known about the plot to this, Allen’s latest, although we do know the cast, which is a whopper. Jesse Eisenberg reunites with Allen after To Rome With Love, as does Judy Davis(!!!), Parker Posey does her second Allen film in a row, Corey Stoll and Steve Carell both make their second film with Allen, and Allen adds Kristen Stewart and Blake Lively to his collection of repertory players. But that’s not even the cherry, the cherry being that it’s being shot by Vittorio motherfuckin’ Storaro, and that it will be Allen’s first film shot digitally and Storaro’s first American film in 12 years.

Story of Your Life (Paramount, release date TBA)

Hot off the success of Sicario, Denis Villeneuve continues his move up the Hollywood ladder with this, a sci-fi drama (based on Ted Chiang’s short story of the same name). Amy Adams stars as a linguist expert enlisted in the aftermath of an alien craft landing on Earth to determine if the aliens come in peace or not, with Jeremy Renner, Forest Whitaker, and Michael Stuhlbarg in supporting roles. The film will be shot by Bradford Young, one of the most exciting cinematographers working today, who hopefully will rebound from his only film last year being Pawn Sacrifice.

Green Room (A24, April 1 for limited release, April 15 for wide release)

After the success of his Blue Ruin, Jeremy Saulnier followed it up with this, a tense one-location thriller starring Anton Yelchin, Imogen Poots, and Patrick Stewart. Yelchin plays the head of a punk band trapped when the venue of their gig is taken over by white supremacists (led by Stewart). The film played at both Cannes and Toronto and won rave reviews at both festivals. It should be yet another feather in A24’s cap.

Certain Women (Sony Pictures Classics, release date TBA)

Kelly Reichardt’s latest after exploring moves that one could make in the absence of the sun, it adapts Maile Meloy’s short story collection Both Ways is the Only Way I Want it with a cast to die for. That cast includes Laura Dern, Michelle Williams, Kristen Stewart, Jared Harris, Rosanna Arquette, and James Le Gros. It will be shot by Reichardt’s current DoP Christopher Blauvelt, and it will debut at Sundance.

The Nice Guys (Warner Bros., May 20)

Shane Black’s third directorial effort is a 70s-set comedy-noir where Russell Crowe gets to play an immovable wall of violence and Ryan Gosling gets to play the patsy. Yes please, may I have another, etc. And as if that wasn’t enough, the trailer is pretty much three minutes of nonstop hilarity and gruesomeness, with a sense of an improved visual style on Black’s part (it helps that he got Philippe Rousselot to shoot it).

La La Land (Lionsgate, July 15)

Damien Chazelle’s follow-up to the Oscar-winning Whiplash stays in the world of jazz (in this case jazz piano), but adds a lot of new wrinkles, namely the fact that it’s a musical romantic comedy. It follows the relationship of Ryan Gosling as a jazz pianist and Emma Stone as his actress girlfriend, with supporting parts for J.K. Simmons, Finn Wittrock, and Rosemary DeWitt. Yes please, may I have another, etc.

Paterson (distributor and release date TBA)

Jim Jarmusch, the nice son of a gun that he is, has decided to not make us wait four to five years for his next film like he’d been doing for about a decade now. Two years after his Only Lovers Left Alive, he’s written-directed this drama, following a “bus driver and poet” (Adam Driver yet again) in Paterson, New Jersey. Also starring Moonrise Kingdom‘s Kara Hayward and shot by Jarmusch’s frequent collaborator Frederick Elmes, the film is currently floating out there in the ether, waiting for someone to grab ahold of it.

Last Days in the Desert (Broad Green, May 13)

It’s been a long road to get Last Days in the Desert, Rodrigo Garcia’s latest, to theaters since its Sundance premiere at the start of last year, but it’s finally coming. The film tells the story of the end of Jesus’s thirty-day-thirty-night fast, with Jesus played by Ewan McGregor, who also plays the Devil. If it seems strange that I’m talking about this movie, you should know that it’s shot by, who else, Emmanuel Lubezki, for whom Garcia frequently worked as a camera operator. This means that Broad Green has in its possession three Lubezki joints, which means that they’ve just become my heroes.