Remy and Alicia, a couple of insecure service workers, are not particularly happy together--but they are bound by a shared obsession with Jen, a beautiful former co-worker of Remy’s who now seems to be following her bliss as a globe-trotting jewelry designer. In and outside the bedroom, Remy and Alicia's entire relationship revolves around fantasies of Jen, whose every Instagram caption, outfit, and New Age mantra they know by heart. Imagine their confused excitement when they run into Jen, in the flesh, and she invites them on a surfing trip to the Hamptons with her wealthy boyfriend and their group. Once there, Remy and Alicia try (a little too hard) to fit into Jen’s exalted social circle, but violent desire and class resentment bubble beneath the surface of this beach-side paradise, threatening to erupt. As small disturbances escalate into outright horror, Remy and Alicia tumble into an uncanny alternate reality, one shaped by their most unspeakable, deviant, and intoxicating fantasies. Is this what “self-actualization” looks like? Part millennial social comedy, part psychedelic horror, and all wildly entertaining, A Touch of Jen is a sly, unflinching examination of the hidden drives that lurk just outside the frame of our carefully curated selves.

Laurent Fontaine has an obsession with spectacle. That is precisely the reason why he is the most famous art curator of the 20th century and why the Fontaine Museum of Art has more success than any other museum has ever seen. That is, of course, until he shuts it down. When Laurent’s wife, Marie, is found dead during an exhibition opening at the museum in 1967, the police are quick to determine suicide. Laurent is quick to determine otherwise. He promptly closes his historic building and halts his highly coveted life in the arts to dedicate the next ten years to one thing: finding the person who killed Marie. In 1977, exactly ten years after the tragedy, Laurent invites who he found to be the six most likely suspects back into his museum, breaking his silence for the first time in a decade. With the event disguised as a “Grand Reopening,” the guests arrive, and Laurent reveals the truth: none of these misfortunate people will be leaving his palace until justice is served. But, Laurent Fontaine has an obsession. Is this truly justice, or is there spectacle hidden in revenge? Is this truly an investigation, or is this emperor of art putting on one last performance? How far can Laurent morally push his grand finale?