As voters head to the polls on November 3, independent cinemas across the United States are offering audiences a range of ways to spend election night. Some programs engage directly with politics; others provide a distraction, a chance to reflect, or simply a place to gather. IndieWire spoke with 14 theater operators, programmers, filmmakers, educators, and authors in 12 states about their plans.

At Las Vegas’ Beverly Theater, the lineup includes Alexander Payne’s political satire “Election,” alongside Ken Russell’s “The Devils” and “The History of Concrete.” Founding creative director Kip Kelly said the theater aims to reflect what is happening outside its doors, and described the high-school election comedy as a fitting choice for a day dominated by political spectacle.

Other venues arrived at election-night programming less deliberately. Nashville’s Belcourt is showing “Under the Silver Lake,” selected through its regular Staff Picks process. Programming director Toby Leonard said the connection to the day was coincidental. Austin’s AFS Cinema is also sticking to its usual schedule, with programmer Lars Nilsen saying he did not want to turn “The Good, the Bad and the Ugly” into election commentary. He sees the theater’s expanded three-screen operation as a sign of confidence in the role of repertory cinema in bringing people together.

For Harlem’s Maysles Documentary Center, community is central to the evening. Executive director Kazembe Balagun chose “BLKNWS: Terms & Conditions” to prompt questions about representation, power, and how communities imagine themselves beyond the ballot box. A gathering after the screening is intended to extend that conversation and bring neighbors together.

At Pennsylvania’s Gap Theatre, the Spectral Cinema team will screen Robert Bresson’s “The Devil, Probably” on 35mm. Programmer Adrianna Gober said the film speaks to feelings of alienation and powerlessness, while co-programmer Dan Santelli hopes it encourages reflection rather than resignation.

Ken Russell’s “The Devils” is also drawing audiences elsewhere. Minneapolis’ Trylon has sold out every screening in its run, according to programmer John Moret, who selected the film for a series on occult cinema. Brookline’s Coolidge Corner Theatre is screening it during its third week, alongside an adult film class called “Voting Counts: Elections in Film.” The theater also programmed “Network” on the eve of the election.

Other choices offer a different kind of release. In Austin, Hyperreal Film Club’s Blake Williams picked “Hardball,” the sports drama starring Keanu Reeves, hoping to give audiences a comforting movie after a month of horror screenings. Williams said some LGBTQ friends in the local film community are considering leaving Texas because they feel unsafe, and described the screening as a chance to offer the community a few hours of comfort.

Screenland Armour in North Kansas City is showing a new restoration of David Lynch’s “Wild at Heart,” alongside Laika’s first-run animated film “Wildwood.” Co-owner Adam Roberts said the Lynch film could provide an escape for patrons seeking one. Charlotte’s Independent Picture House is keeping its existing lineup, including “Wild at Heart,” “The Devils,” and “Digger.” Its regular filmmaker meetup also falls on election night, creating a place for North Carolina’s film community to discuss results that may affect local productions and industry support.

In Los Angeles, WHAMMY is opening Julie Orlick’s One Person Cinema: a small room designed for one viewer, with a chair, television, and headphones. Its first offering is Orlick’s erotic short “DÉSIR.” A screening of “Les fantômes du hard” in the venue’s larger microcinema completes the evening’s program. Orlick said the installation’s private viewing experience was conceived around intimate images she did not want to put online.

Chicago’s Gene Siskel Film Center is screening Jia Zhangke’s “The World” as part of “Contact Zones,” a public series and lecture class led by School of the Art Institute of Chicago professor Daniel Quiles. The film, set among workers at a Beijing theme park filled with miniature landmarks, is intended to help audiences consider globalization and look for connections rather than simply accept divisions between countries.

The programs reflect different expectations of what a cinema can offer on election night: political engagement, a pause from the news, or a shared experience. For some moviegoers, the draw is simply being able to put their phones away for a few hours; others prefer to stay close to the results. At Los Angeles’ WHAMMY, the One Person Cinema will remain available throughout the month.

Sources: IndieWire.