Beloved favorites from cinema's Golden Age.
Fairly squirming with sexual jealousy, and steeped in the shadows of imported German Expressionism, Asquith’s revenge melodrama follows a barber’s assistant’s fatal attraction to a new co-worker.
A COTTAGE ON DARTMOOR
Master of melodrama Borzage adapts Hemingway’s 1929 novel of love and war, with Gary Cooper as the American serving in the Italian ambulance brigade in WWI.
A FAREWELL TO ARMS
Wellman’s wrenching Technicolor melodrama of rising and falling stars streaking past one another, in the unsurpassable original version.
A STAR IS BORN
A singular document of Thatcher-era South London immigrant life, Rosso’s cult sound-system drama is hard-nosed, indignant, and utterly compelling.
BLESS THEIR LITTLE HEARTS
Roffman’s feature debut follows a straight-and-narrow cat who falls into a seedy underworld of beatnik baddies, led by a young Peter Falk.
THE BLOODY BROOD
The film that first paired Josef von Sternberg and Marlene Dietrich, launching one of the greatest actress-director collaborations in cinema history.
THE BLUE ANGEL
A four-part anthology comedy exploring love and the liberated woman in contemporary Italy, featuring contributions by some of the country’s greatest working filmmakers.
A full-blooded melodrama in which Paul Robeson, in his film debut, plays a double role as an escaped prisoner and his long-lost twin brother.
BODY AND SOUL
Arthur Ripley’s nightmare-logic thriller propels a penniless, PTSD-haunted WWII vet into a job behind the wheel for a Miami mobster.
Buster Keaton goes to college where he tries to bulk up to impress a beautiful co-ed with predictably hysterical results.
When their leading man is killed during a film shoot, production manager Bela Lugosi and screenwriter David Manners must race against time to collar the culprit.
THE DEATH KISS
A group of soldiers embark on a surreal journey to escape from behind enemy lines in Kubrick’s genius debut feature.
FEAR AND DESIRE
A federal agent falls for a Mississippi schoolteacher and rescues her from the clutches of a local crime kingpin—but when the pair escape to Harlem, safety still eludes them.
THE GIRL FROM CHICAGO
Sixties “It” Girl Marianne Faithfull leads the mod-styled erotic delirium as a Harley-riding free spirit rendezvousing with both her lover, played by Alain Delon, and her husband.
THE GIRL ON A MOTORCYCLE
The work of self-taught African American evangelists, this surreal featurette is a campy episodic catalog of iniquity set on the titular choo-choo.
Lupino’s personal favorite of her directorial efforts, a nerve-wracking, impeccably performed thriller about a vacation gone awry.
A brilliantly claustrophobic adaptation of Harold Pinter’s play about a young man who returns to the hornet’s nest of his estranged family’s London home for the holidays.
Lee Marvin and Jeff Bridges lead Frankenheimer’s definitive take on the habitual tipplers who gather at Harry Hope’s saloon, and their dashed pipe dreams.
THE ICEMAN COMETH
Buñuel’s first feature, a savage surreal satire taking aim at bourgeois morality, the Catholic Church, and society as a whole.
Murnau’s bold use of a moving camera changed cinema forever in this simple, tragic story of a hotel doorman whose life falls apart after he loses his job.
THE LAST LAUGH
A lonely teenage boarder falls for her teacher in Leontine Sagan’s pioneering all-female cast lesbian romance.
MÄDCHEN IN UNIFORM
Exploitation pioneer Esper’s zilch-budget roadshow thriller is a down ’n’ dirty little number involving mad scientists, vaudevillians, showgirls, and a cat-farmer named “Goof.”
The Mask isn’t just the first Canadian horror feature and the first Canadian film shot in 3D—it’s also a landmark of psychedelic cinema, dating from a time before most of the world had heard of LSD.
Lang’s expressionist epic—the definitive science-fiction bonanza of the 1920s—in which a downtrodden proletariat underclass rise up against their masters.
A beautiful young dancer is suddenly crippled by polio in Ida Lupino’s hard-eyed, semi-autobiographical melodrama.
Young Dennis Hopper stars as a sailor who falls in love with a woman who may or may not be a real-life mermaid.
Arguably the greatest of the films that the legendary French director Jean Renoir made in Hollywood, The Southerner is a tough, unvarnished portrait of the hardships of rural life.
Orson Welles’s oft unfairly overlooked third feature, a baroque thriller about a war crimes investigator looking for a Nazi fugitive in small-town Connecticut, with Welles starring as the prime suspect.
In the elite class of Lang’s American films, this seamy, gut-twisting noir about a painter looking for love in all the wrong places is one of the most thoroughly devastating films ever produced in Hollywood.
Writer-director-star Charles Lane’s contemporary update of Chaplin’s The Kid, shot in beautiful black and white in downtown New York.
The magisterial final collaboration between Sophia Loren, Marcello Mastroianni, and director Vittoria De Sica.
Alberto Cavalcanti’s direction lends a palpable sense of mounting dread to this sterling specimen of the spiv film.
THEY MADE ME A FUGITIVE
Ernst Lubitsch’s silent satirical fantasy, in which a playboy Lieutenant sent to a remote alpine outpost loses his head over two women.