As long as families exist, filmmakers will seek out the most bizarre examples, as Joe Berlinger and Bruce Sinofsky did in the deeply discomfiting Brother's Keeper. Similarly, debut director Crystal Moselle struck gold when she stumbled across the Angulo brothers of The Wolfpack.

The saga of these real-life Flowers in the Attic begins when a Midwestern farmer's daughter named Susanne travels to Peru, marries a kook who wants to start his own race, moves to New York, and attempts to have 10 children—because that's how Krishna would have it—but her body gives up after child #7 (a girl who floats around the periphery).

In order to avoid the "contamination" of the Lower East Side, their layabout father, Oscar, forbids the kids from leaving the building. Life revolves around the prison-like flat where the six boys, who all have impossibly long hair, watch 5,000 movies over and over, leading them to construct costumes and film reenactments of Goodfellas, Reservoir Dogs, and other VHS classics.

It's cute, funny, and sad, but their warden can't contain them forever, and the power structure shifts toward the end.

Moselle embedded herself with the sextet for four years, and they're remarkably forthcoming, but her film practically demands a sequel, because things can go any way for these kids as they continue to explore the wider world their parents denied them.