Every spring, the Tribeca Festival returns to Lower Manhattan with a cumbersome combined bag of inventive programming. Looking for digital actuality? Concerts? Video video games? Podcast tapings? The occasion, which dropped “film” from its identify in 2021, lassos collectively all its media with the important thing phrase storytelling — a buzzy, usually branded time period. Past attendees of the competition may recall Robert De Niro, one among its founders, rapping, “I’ve got a story to tell,” at the beginning of a bouncy, AT&T-sponsored Tribeca trailer that preceded screenings for half a dozen years.

A pressure surrounding this yr’s occasion, which runs from Wednesday by June 18, is the way it coincides with a wholesale hiatus in storytelling with the Writers Guild strike in its second month and a possible SAG-AFTRA strike hovering on the horizon. The deadlock, which pits Hollywood studios in opposition to creators, hangs on a query: How a lot does the system really worth these storytellers? The business is in disaster, and because the guilds sound alarm bells, it will likely be fascinating to see how Tribeca amplifies their chime.

A high U.S. movie competition, Tribeca has lengthy served as a form of business nexus, platforming big-studio films beside indies. Once, the occasion featured Mario Van Peebles’s “Baadasssss!” on the same day as “New York Minute,” starring Mary-Kate and Ashley Olsen. This yr, Disney and Pixar’s “Elemental” is the centerpiece. The competition has additionally confirmed a conduit for filmmakers to go from newcomer to huge deal. In 2018, Nia DaCosta premiered the crime drama “Little Woods.” She’s now directing “The Marvels.”

The competition’s juiciest titles are sometimes the discoveries, and that was definitely the case for my favourite world premiere this yr: “The Gullspang Miracle,” a dazzler within the documentary competitors. Like the bizarre love youngster of “Three Identical Strangers” and “Grey Gardens,” the movie observes the Norwegian sisters Kari and May within the afterglow of assembly Olaug, an uncanny ringer for his or her elder sister, Astrid, who died by suicide many years earlier. The director, Maria Fredriksson, accompanies the trio as they plumb this unusual serendipity, laying naked destabilizing truths and secrets and techniques.

The competing pulls of nature and nurture underpin the movie. Kari and May regard their expertise as a divine act of God. Nonreligious, Olaug is skeptical, and shortly, the ladies’s honeymoon interval fizzles into pettiness and pique. An ace calibrator of temper, Fredriksson charts this rift in social settings and a sequence of charged voice mail messages. Brace for a startling and surreal experience that marries true-crime mysteries with cringe comedy concerning the narcissism of nanoscopic variations.

Darker in temper and in palette is Ethan Berger’s “The Line,” an incisive school drama that’s equal components spectacle and parable. Alex Wolff stars as Tom, a sophomore at a Southern liberal arts college shirking his research to romp and roughhouse together with his fraternity brothers within the fictional Kappa Nu Alpha. It’s fall rush season, and hassle arrives in Gettys (Austin Abrams), a promising freshman pledge whose swagger nonetheless rubs Tom’s truculent roommate, Mitch (Bo Mitchell), the fallacious approach.

In his narrative function debut, Berger demonstrates a knack for scene-setting. He paints the fraternity’s antebellum mansion not as an animal home however fairly as a tenebrous, cocaine-tinctured netherworld peopled with the preppy, white progeny of native fats cats. These boys are homophobes (to not point out racists and sexists), and but Berger and his co-writer, Alex Russek, intentionally current the brotherhood as buttressed by a vigorous homoeroticism. Tussling is a pastime, penis remarks fill the patois and hazing hinges on a heavy dose of organized spanking.

If all that macho posturing leaves you hungry for some memorable female-driven narratives, look no additional than “Richelieu” and “Cold Copy,” two absorbing dramas in several registers. Both middle on a lady honing her skilled credo, albeit to reverse ends: In “Richelieu,” Ariane (a stirring Ariane Castellanos) finds goal as an advocate for others, whereas Mia (the always-on Bel Powley) of the jittery “Cold Copy” succeeds by stepping on her friends to present herself a lift.

“Richelieu” is about at a Canadian industrial plant, the place Ariane is tasked with translating the Québécois French dictates of her boss into the Spanish spoken by the mill’s steady of Guatemalan laborers. The filmmaker, Pier-Philippe Chevigny, makes knowledgeable use of lengthy takes trailing characters by house, together with throughout a climax assured to depart you breathless. The equally dizzying “Cold Copy,” written and directed by Roxine Helberg (as soon as an assistant to Jean-Marc Vallée), tells of a journalism pupil so determined to impress her steely professor, Diane (Tracee Ellis Ross), that she’ll toss friendships and ethics out the window.

On the nonfiction finish, an unusually massive chunk of titles middle on sports activities and athletes: basketball, soccer, baseball, ice hockey, rugby, combined martial arts and even IndyCar racing are represented. Two standouts think about points of what was as soon as referred to as America’s pastime, though in a twist, neither focuses on the main leagues. “The Saint of Second Chances,” a Netflix bio-doc from Morgan Neville (“Won’t You Be My Neighbor?”) and Jeff Malmberg (“Marwencol”), has loads of enjoyable detailing the puckish stunts of unbiased leagues because it profiles staff proprietor Mike Veeck, a lifelong mischief-maker (and the son of Bill Veeck, a franchise proprietor).

That documentary finds a rousing kindred spirit in “The League,” a poetic collage of archival footage and scholarship organized with care by the filmmaker Sam Pollard (“MLK/FBI”). The movie celebrates the inception, heyday and superstars of the Negro Leagues and analyzes their legacy. There is even some overlap with “The Saint”: one part touches on Bill Veeck’s signing of the legend Satchel Paige, historical past’s oldest M.L.B. rookie.

Less brawny however simply as tireless are the gamers in Jane M. Wagner’s “Break the Game,” an revolutionary movie constructed from excerpts from an enormous accumulation of livestream recordings on the gaming web site Twitch. Our hero is Narcissa Wright, a onetime champion now dealing with onslaughts of on-line transphobia. Hoping to set a file on a preferred new sport, Narcissa turns into a recluse after which an anxious wreck.

What emerges is an internecine tug of warfare between physique and thoughts, and between the urges to face out and slot in. The movie — Wagner’s first — is extraordinarily multimedia, which is to say, extraordinarily Tribeca. But extra profoundly, the documentary probes the intriguing chance of taking pictures meant for one house and repurposing them right into a cogent starting, center and finish. Put one other approach: Even with out the pixelated bells and whistles, it’s glorious storytelling.