Beloved favorites from cinema's Golden Age.
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
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 group of soldiers embark on a surreal journey to escape from behind enemy lines in Kubrick’s genius debut feature.
FEAR AND DESIRE
The work of self-taught African American evangelists, this surreal featurette is a campy episodic catalog of iniquity set on the titular choo-choo.
A landmark of American independent cinema, which follows the marriage between a Black philosophy professor (Seret Scott) and her painter husband (Bill Gunn), both at a crossroads in their lives.
A lonely teenage boarder falls for her teacher in Leontine Sagan’s pioneering all-female cast lesbian romance.
MÄDCHEN IN UNIFORM
Vittoria De Sica’s unexpectedly moving farce, charting the 22-year relationship between Marcello Mastroianni’s caddish businessman and Sophia Loren’s street-smart sex worker.
MARRIAGE ITALIAN STYLE
Lang’s expressionist epic—the definitive science-fiction bonanza of the 1920s—in which a downtrodden proletariat underclass rise up against their masters.
A twentysomething Black valet accidentally kills his white employer’s daughter in this Argentine adaptation of Richard Wright’s influential 1940 novel.
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.
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.
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
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
Arthur Ripley’s nightmare-logic thriller propels a penniless, PTSD-haunted WWII vet into a job behind the wheel for a Miami mobster.
For her first film, Collins adapted a series of Henry H. Roth stories about three young Puerto Rican men watched over by their father’s ghost.
THE CRUZ BROTHERS AND MISS MALLOY
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
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
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.
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.
Ernst Lubitsch’s silent satirical fantasy, in which a playboy Lieutenant sent to a remote alpine outpost loses his head over two women.
Alberto Cavalcanti’s direction lends a palpable sense of mounting dread to this sterling specimen of the spiv film.
THEY MADE ME A FUGITIVE
One of the great independent films of the ’80s, in which a woman lands a job at a downtown porno theater and finds herself drawn towards what’s happening onscreen—as well as other troubling fantasies.