With her ravishingly sensual take on Herman Melville’s Billy Budd, Sailor, Claire Denis firmly established herself as one of the great visual tone poets of our time. Amid the azure waters and sunbaked desert landscapes of Djibouti, a French Foreign Legion sergeant (Denis Lavant) sows the seeds of his own ruin as his obsession with a striking young recruit (Grégoire Colin) plays out to the thunderous, operatic strains of Benjamin Britten. Denis and cinematographer Agnès Godard fold military and masculine codes of honor, colonialism’s legacy, destructive jealousy, and repressed desire into shimmering, hypnotic images that ultimately explode in one of the most startling and unforgettable endings in all of modern cinema.

A divorcée falls for an over-the-hill cowboy who is struggling to maintain his romantically independent lifestyle.

This compilation of five early short films by Martin Scorsese offers a fascinating window onto his artistic development. Spanning the years from Scorsese’s time at NYU in the mid-1960s to the late ’70s, when he was emerging as one of the era’s most electrifying talents, Scorsese Shorts centers on the intimate home movie Italianamerican—a loving snapshot of the director’s parents—and American Boy, a freewheeling portrait of the larger-than-life raconteur Steven Prince. Also included are The Big Shave, a daringly visceral response to America’s involvement in Vietnam, and the bracing student films What’s a Nice Girl Like You Doing in a Place Like This? and It’s Not Just You, Murray! Touching on many of Scorsese’s key themes—Italian American identity, family, his beloved New York City—these are hilarious, candid, and illuminating works from the pre­eminent American filmmaker of our time.

The lives of Pomme, an aspiring singer, and Suzanne, a struggling mother, as they search for their own identity in 1970s France.

As hard-hitting as its title, Brute Force was one of Jules Dassin’s first forays into the crime genre, a prison melodrama with a scathing critique of the punitive American incarceration system at its heart. Burt Lancaster is the timeworn Joe Collins, who, along with his fellow inmates, lives under the heavy thumb of the sadistic, power-tripping guard Captain Munsey (a riveting Hume Cronyn). Only Collins’s dreams of escape keep him going, but how can he possibly bust out of Munsey’s chains? Matter-of-fact and ferocious, Brute Force builds to an explosive climax that shows the lengths men will go to when fighting for their freedom, and asks the question of who society’s real brutes are.

The story takes place in postwar Germany, following Germany's loss in World War II. For years, people struggled with shortages of everything, housing, water, food, clothing.

A step-by-step look at a murder investigation on the streets of New York.

Adapting the acclaimed novel by Ian McEwan, playwright and screenwriter Harold Pinter lends his trademark unnerving dialogue and air of creeping menace to this spellbinding study of power, control, and the frighteningly thin line between pleasure and pain. Rupert Everett and Natasha Richardson are the prey, a beautiful British couple working on their relationship while on holiday in Venice; Christopher Walken and Helen Mirren are the hunters who draw them into the sinister web of their opulent, old-world palazzo. What plays out is an unsettling, sadomasochistic seduction imbued with an atmosphere of sumptuous dread by the elegantly gliding tracking shots of cinematographer Dante Spinotti, lush score by Angelo Badalamenti, and carefully controlled direction of Paul Schrader, who choreographs a mesmerizing pas de quatre of sustained erotic and emotional tension.

The latest 'film and music' project of Tindersticks is a collage of the science films made in early 1900s by F. Percy Smith-naturalist, inventor and documentarist.

Spending most of her days at home following the birth of her son but curious as ever about the people and places that surrounded her, Agnès Varda found inspiration for Daguerréotypes just outside her door: on Paris’s rue Daguerre, where she had lived and worked since the 1950s. The director turns her camera on the business owners whose shops are the street’s lifeblood: bakers, tailors, butchers, perfumers, music-store clerks, driving instructors, and others, who, between the everyday rituals of their work, talk of their lives, relationships, and dreams. Blending her photographer’s eye for still portraiture with her filmmaker’s gift for finding visual rhymes and resonances between images, Varda reveals the rich social fabric of an entire world—all without leaving her block.

The rise of a showgirl, Gloria Hughes, culminating in a Ziegfeld extravaganza "Glorifying the American Girl".

In order to escape her isolation, wheelchair-bound Christine makes a life changing journey to Lourdes, the iconic site of pilgrimage in the Pyrenees Mountains.

On April 30, 1971, a standing-room-only crowd of New York’s intellectual elite packed the city’s Town Hall theater to see Norman Mailer—fresh from the controversy over his essay “The Prisoner of Sex” and the backlash it received from leaders of the women’s movement—tangle with a panel of four prominent female thinkers and activists: Jacqueline Ceballos, Germaine Greer, Jill Johnston, and Diana Trilling. Part intellectual death match, part three-ring circus, the proceedings were captured with crackling, fly-on-the-wall immediacy by the documentary great D. A. Pennebaker and a small crew, with Chris Hegedus later condensing the three-and-a-half-hour affair into this briskly entertaining snapshot of a singular cultural moment. Heady, heated, and hilarious, Town Bloody Hall is a dazzling display of feminist firepower courtesy of some of the most influential figures of the era, with Mailer plainly relishing his role as the pugnacious rabble-rouser and literary lion at the center of it all.

In 1934, Jean Renoir stepped off the soundstage and headed to the South of France, where he captured vivid human drama amid the bucolic splendor and everyday social rituals of the countryside. Based on a true story and set in a community of immigrants living, working, and loving on the margins of French society, Toni follows the eponymous Italian migrant (Charles Blavette), whose tempestuous affairs with two women—the faithful Marie (Jenny Hélia) and the flirtatious Josefa (Celia Montalván)—unleash a wave of tragedy. Making use of nonprofessional actors, on-location shooting, and the resources of the great Marcel Pagnol’s Provence studio, Renoir crafts a marvel of poetic feeling that became a precursor to Italian neorealism and a favorite of the directors of the French New Wave.

A Jewish girl disguises herself as a boy to enter religious training.