A spoiled and self-absorbed man who has squandered his inheritance, Henry Graham (Walter Matthau) is desperate to find a way to maintain his lavish lifestyle. Henry sees an opportunity when he meets Henrietta Lowell (Elaine May), an awkward and bookish heiress. Though Henry courts Henrietta, he has no intention of remaining with her, and he develops a surprisingly sinister scheme. As Henry attempts to execute his plan, he finds that seeing it through may not be as easy as he had thought.

Based on the books by Louise Rennison, this tale follows 14-year-old Georgia Nicholson as she attempts to woo Robbie, one half of a pair of fraternal twins. Prone to getting herself into embarrassing situations and worried about her parent's marriage, Georgia discovers that being a teen can be a pain in the neck.

When a beautiful stranger leads computer hacker Neo to a forbidding underworld, he discovers the shocking truth--the life he knows is the elaborate deception of an evil cyber-intelligence.

Julie Dash’s 1991 masterpiece was her first feature, and the first American feature directed by an African American woman to receive a general theatrical release. It announced a formidable talent, and in the grandeur and intricacy of its formal construction and themes, powerfully emblematized its director’s purposeful commitment to cinema.

Abounding with surprise, the film transports us to a little-known setting to unfold a universal tale. The year is 1902, in the home of an extended family off the coast of South Carolina and Georgia where they maintain strong connections to African linguistic and cultural traditions. Here, many members of the Peazant family are on the verge of a planned migration to the U.S. mainland, where American modernity seems, vaguely, to offer a better life.

However, family members clash over the meaning of this move. Viola, who has lived up North and returned as a Christian convert, views the crossing as a step out of bankrupt African superstitions into a kind of light. Scandal-tinged “Yellow Mary,” returning to the family from a long self-exile, still asserts her independence but fears losing the touchstone of home. Nana Peazant, the aged matriarch, refuses to migrate and frets over the possibility of broken family ties and lost traditions. Eulah, young and with child, fears that the family’s plan represents a futile flight from intractable legacies of pain.

A brilliant cast enacts these negotiations with exceeding depth, befitting the weight of the decision the Peazants face: to embrace the land that other Africans once fled. Dash constructs their home as a rarefied world, possibly soon a “paradise lost,” through a masterful interplay of mise-en-scène, symbolic markers and magical realist gestures. All of this is graced by the luminous cinematography of A. Jaffa Fielder and John Barnes’ stunningly original score. Named to the National Film Registry in 2004 by the Library of Congress, Daughters of the Dust eloquently frames concerns that have preoccupied many independent filmmakers of Dash’s generation: the place of family and tradition in ameliorating historical wrongs, the hope of spiritual escape from a history of trauma, and the elusive possibility of finding deliverance together. —Shannon Kelley

This provocative Palme D’or winner is equal parts horrifying and hilarious. Titane follows one person (Agathe Rousselle) along a journey seeking love and acceptance. As a child they were in a horrific car accident, and as a result have a metal plate in the side of their head alongside a lifelong obsession with vehicles. This obsession mutates in increasingly grisly ways, as their life starts to unravel around them.

Titane is playing as part of the Tetsuo And Beyond season presented with the National Film and Television School’s Film Studies, Programming and Curation MA.