In 1962 Hong Kong, neighbors Su Li-zhen (Mrs. Chan) and Chow Mo-wan (Mr. Chow) discover their spouses are having an affair. As they spend time together, they develop feelings for each other, but their relationship remains chaste and unspoken, reflecting societal constraints and their own moral compass.

Middle-aged alcoholic Gin, teenage runaway Miyuki and former drag queen Hana are a trio of homeless people surviving as a makeshift family on the streets of Tokyo. While rummaging in the trash for food on Christmas Eve, they stumble upon an abandoned newborn baby in a trash bin. With only a handful of clues to the baby's identity, the three misfits search the streets of Tokyo for help in returning the baby to its parents.

Satsuki and Mei's mother has taken ill. In order to be closer to her while she recovers in a rural convalescent hospital, their father moves the two sisters from their home in a city to the countryside. The house they move into is a ramshackle old place in the shadow of an ancient camphor tree, and Satsuki and Mei embark on adventures with the wondrous forest spirits who live nearby.

Presented in Both Subtitled and Dubbed Performances; see SUB or DUB tags next to film time for performance info.

English Dub Voice Cast: Dakota Fanning, Elle Fanning, Tim Daley, Pat Caroll, Lea Salonga, Frank Welker and Paul Butcher

Japanese Language Voice Cast: Noriko Hidaka, Chika Sakamoto, Shigesato Itoi, Sumi Shimamoto, Tanie Kitabayashi, Hitoshi Takagi

Two angels, Damiel (Bruno Ganz) and Cassiel (Otto Sander), glide through the streets of Berlin, observing the bustling population, providing invisible rays of hope to the distressed but never interacting with them. When Damiel falls in love with lonely trapeze artist Marion (Solveig Dommartin), the angel longs to experience life in the physical world, and finds--with some words of wisdom from actor Peter Falk (playing himself) -- that it might be possible for him to take human form.

"THE COLOUR OF ILLUSION IS PERFECT BLUE"

A young Japanese singer is encouraged by her agent to quit singing and pursue an acting career, beginning with a role in a murder mystery TV show.

An honest Hong Kong cop protecting a Triad boss's girlfriend-turned-informer, finds himself framed for the murder of a dirty cop and going on the run. The movie mixes slapstick with wild stunts and features some painful outtakes during the final credits.

After professional hitman Jef Costello is seen by witnesses his efforts to provide himself an alibi drive him further into a corner.

Every day, Cop 223 (Takeshi Kaneshiro) buys a can of pineapple with an expiration date of May 1, symbolizing the day he'll get over his lost love. He's also got his eye on a mysterious woman in a blond wig (Brigitte Lin), oblivious of the fact she's a drug dealer. Cop 663 (Tony Leung Chiu Wai) is distraught with heartbreak over a breakup. But when his ex drops a spare set of his keys at a local cafe, a waitress (Faye Wong) lets herself into his apartment and spruces up his life.

As civilization draws ever nearer to their idyllic forest home, a group of mischievous Japanese raccoons try to scare humans away. But they soon discover that man is not their only rival in their struggle for their age-old territory. Released in 1994 as the Japanese economy slumped, but looking back to the sixties construction boom in Tokyo's Tama Hills, Pom Poko questions the money grabbing ethics of yuppie Japan, and mourns the loss of the countryside. Drawing on Japanese myths and legends, writer and director Isao Takahata presents a satirical view of woodland spirits using every available magical ruse to take on modern developers: including transformations sabotage and trickery. Pom Poko is a unique window into Japanese folklore, a comedy of modern failings, and an elegiac tale of unlikely heroes fighting insurmountable odds.

In 19th century Qing Dynasty China, a warrior (Chow Yun-Fat) gives his sword, Green Destiny, to his lover (Michelle Yeoh) to deliver to safe keeping, but it is stolen, and the chase is on to find it. The search leads to the House of Yu where the story takes on a whole different level.

Set in feudal Japan, this film presents an intriguing tale of violent crime in the woods, told from the perspective of four different characters -- a bandit, a woman, her husband and a woodcutter. Only two things about the incident seem to be clear -- the woman was raped and her husband is now dead. However, the other elements radically differ as the four participants and/or witnesses relate their own stories (with the dead man, eerily enough, speaking through a medium). As each account is revealed, what seemed black-and-white turns to various hues of gray, leading to surprising -- and confounding -- revelations.

Clumsy Monsieur Hulot (Jacques Tati) finds himself perplexed by the intimidating complexity of a gadget-filled Paris. He attempts to meet with a business contact but soon becomes lost. His roundabout journey parallels that of an American tourist (Barbara Dennek), and as they weave through the inventive urban environment, they intermittently meet, developing an interest in one another. They eventually get together at a chaotic restaurant, along with several other quirky characters.

Famed stage actress Elisabeth Vogler (Liv Ullmann) suffers a moment of blankness during a performance and the next day lapses into total silence. Advised by her doctor to take time off to recover from what appears to be an emotional breakdown, Elisabeth goes to a beach house on the Baltic Sea with only Anna (Bibi Andersson), a nurse, as company. Over the next several weeks, as Anna struggles to reach her mute patient, the two women find themselves experiencing a strange emotional convergence.

Uncomplainingly jobless in late-50s Paris, Michel starts stealing from strangers, for reasons unclear even to himself. He spouts vague theories about exceptional individuals being above the law – but is he lost in another world, as Jeanne, a young woman he halfheartedly befriends, tells him?

Intentionally not a thriller but certainly not without suspense, Robert Bresson’s film is profoundly ambivalent about Michel’s ethics, sexuality (he seems aroused by his thefts), his capacity for compassion and his courtship of suspicion in others. His isolation, however, is undeniable. A riveting morality tale reminiscent of both Hitchcock and Dostoevsky, it’s imbued with the director’s distinctive rigour.

This imaginative Japanese production presents a series of short films by lauded director Akira Kurosawa. In one chapter, a young boy spies on foxes that are holding a wedding ceremony; the following installment features another youth, who witnesses a magical moment in an orchard. In the segment "Crows," an aspiring artist enters the world of a painting and encounters Vincent van Gogh (Martin Scorsese). Many of the films in this inventive movie are tied together by an environmental theme.

A detective starts spiraling out of control when a wave of gruesome murders with seemingly similar bizarre circumstances are sweeping Tokyo.

Down-on-his-luck veteran Tsugumo Hanshirō enters the courtyard of the prosperous House of Iyi. Unemployed, and with no family, he hopes to find a place to commit seppuku—and a worthy second to deliver the coup de grâce in his suicide ritual. The senior counselor for the Iyi clan questions the ronin's resolve and integrity, suspecting Hanshirō of seeking charity rather than an honorable end. What follows is a pair of interlocking stories which lay bare the difference between honor and respect, and promises to examine the legendary foundations of the Samurai code.

In 1986, Park (Song Kang-ho) and Cho (Kim Roi-ha) are two simple-minded detectives assigned to a double murder investigation in a South Korean province. But when the murderer strikes several more times with the same pattern, the detectives realize that they are chasing the country's first documented serial killer. Relying on only their basic skills and tools, Park and Jo attempt to piece together the clues and solve the case in this thriller based on true events.

A cornerstone of the French New Wave, the first feature from Alain Resnais is one of the most influential films of all time. A French actress (Emmanuelle Riva) and a Japanese architect (Eiji Okada) engage in a brief, intense affair in postwar Hiroshima, their consuming mutual fascination impelling them to exorcise their own scarred memories of love and suffering. With an innovative flashback structure and an Academy Award–nominated screenplay by novelist Marguerite Duras, Hiroshima mon amour is a moody masterwork that delicately weaves past and present, personal pain and public anguish.

Dae-Su is an obnoxious drunk bailed from the police station yet again by a friend. However, he's abducted from the street and wakes up in a cell, where he remains for the next 15 years, drugged unconscious when human contact is unavoidable, otherwise with only the television as company. And then, suddenly released, he is invited to track down his jailor with a denouement that is simply stunning.

42 9th graders are sent to a deserted island. They are given a map, food, and various weapons. An explosive collar is fitted around their neck. If they break a rule, the collar explodes. Their mission: kill each other and be the last one standing. The last survivor is allowed to leave the island. If there is more than one survivor, the collars explode and kill them all.

In this Japanese animation, cyborg federal agent Maj. Motoko Kusanagi (Mimi Woods) trails "The Puppet Master" (Abe Lasser), who illegally hacks into the computerized minds of cyborg-human hybrids. Her pursuit of a man who can modify the identity of strangers leaves Motoko pondering her own makeup and what life might be like if she had more human traits. With her partner (Richard George), she corners the hacker, but her curiosity about her identity sends the case in an unforeseen direction.

In Federico Fellini's lauded Italian film, restless reporter Marcello Rubini (Marcello Mastroianni) drifts through life in Rome. While Marcello contends with the overdose taken by his girlfriend, Emma (Yvonne Furneaux), he also pursues heiress Maddalena (Anouk Aimée) and movie star Sylvia (Anita Ekberg), embracing a carefree approach to living. Despite his hedonistic attitude, Marcello does have moments of quiet reflection, resulting in an intriguing cinematic character study.

A low-level triad "big brother" has a hot-tempered "little brother" who can't keep out of trouble, and consequently is in constant need of being bailed out by his protector. The "big brother" is super cool, but lacks the ambition to rise in the ranks of the triad societies - and once he meets his cousin from Kowloon and falls in love with her, he even thinks about leaving "the life"

In the South American jungle, supplies of nitroglycerine are needed at a remote oil field. The oil company pays four men to deliver the supplies in two trucks. A tense rivalry develops between the two sets of drivers on the rough remote roads where the slightest jolt can result in death.

Winner of the Palme d’Or at the 1997 Cannes Film Festival, Iranian auteur Abbas Kiarostami’s _Taste of Cherry_ is an emotionally complex meditation on life and death. Middle-aged Mr. Badii (Homayoun Ershadi) drives through the hilly outskirts of Tehran—searching for someone to rescue or bury him.

On a dark, wet night a historic and regal Chinese cinema sees its final film. Together with a small handful of souls they bid "Goodbye, Dragon Inn".

When a machine that allows therapists to enter their patients' dreams is stolen, all hell breaks loose. Only a young female therapist, Paprika, can stop it.

The crowning triumph of a career cut tragically short, the final film from Larisa Shepitko won the Golden Bear at the 1977 Berlin Film Festival and went on to be hailed as one of the finest works of late Soviet cinema. In the darkest days of World War II, two partisans set out for supplies to sustain their beleaguered outfit, braving the blizzard-swept landscape of Nazi-occupied Belorussia. When they fall into the hands of German forces and come face-to-face with death, each must choose between martyrdom and betrayal, in a spiritual ordeal that lifts the film's earthy drama to the plane of religious allegory. With stark, visceral cinematography that pits blinding white snow against pitch-black despair, THE ASCENT finds poetry and transcendence in the harrowing trials of war.

The first in Joachim Trier's masterful “Oslo Trilogy” is an electric and affecting dual portrait of two writer friends whose ambitions are challenged by the trials of life. Saturated with punk playfulness, Reprise explores the tantalizing promise—and peril—of fulfilling your creative aspirations.

Two teenagers share a profound, magical connection upon discovering they are swapping bodies. Things manage to become even more complicated when the boy and girl decide to meet in person.

An assassin goes through obstacles as he attempts to escape his violent lifestyle despite the opposition of his partner, who is secretly attracted to him.

An intoxicating, time-bending experience bathed in the golden glow of oil lamps and wreathed in an opium haze, this gorgeous period reverie by Hou Hsiao-hsien traces the romantic intrigue, jealousies, and tensions swirling around four late-nineteenth-century Shanghai “flower houses,” where courtesans live confined to a gilded cage, ensconced in opulent splendor but forced to work to buy back their freedom. Among the regular clients is the taciturn Master Wang (Tony Leung Chiu-wai), whose relationship with his longtime mistress (Michiko Hada) is roiled by a perceived act of betrayal. Composed in a languorous procession of entrancing long takes, Flowers of Shanghai evokes a vanished world of decadence and cruelty, an insular universe where much of the dramatic action remains tantalizingly offscreen—even as its emotional fallout registers with quiet devastation.

An unforgettable mixture of bubblegum teen melodrama and grisly phantasmagoria, Obayashi’s deranged fairy tale House is one of Japanese cinema’s wildest supernatural ventures and a truly startling debut feature.

Distressed by her widowed father’s plans to remarry, Angel sets off with six of her schoolgirl friends in tow for a summer getaway in her aunt’s isolated mansion. But all is not well – in this house of dormant secrets, long-held emotional traumas have terrifyingly physical embodiments and the girls will have to use all their individual talents if any are to survive.

A rollercoaster ride without brakes, House is by turns sinister, hilarious and curiously touching, with ceaseless cinematic invention and a satirical, full-blooded approach to the horror genre.

Edward Yang's second feature is a mournful anatomy of a city caught between the past and the present. Made in collaboration with Yang's fellow New Taiwan Cinema master Hou Hsiao-hsien, TAIPEI STORY chronicles the growing estrangement between a washed-up baseball player (Hou, in a rare on-screen performance) working in his family's textile business and his girlfriend (Tsai Chin), who clings to the upward mobility of her career in property development. As the couple's dreams of marriage and emigration begin to unravel, Yang's gaze illuminates the precariousness of domestic life and the desperation of Taiwan's globalised modernity.

Baron Meier Link is of a dying race, but the vampire doesn't intend to remain lonely much longer. Abducting women in the night is common for his kind, so what's one more? But Charlotte's father has plenty of money, and there's no price he won't pay to get his daughter back. That's why he hires D.

D is a Dunpeal, a breed rarer than that of the vampires - after all, he's half of one. When it comes to hunting those with fangs like his own, he's the best in the business. But that doesn't mean he's the only game in town. The Markus Brothers are on the vampire's trail as well, and they're not about to lose. It's a race, not only between the rival Hunters, but for the vampire and his bride-to-be. But it might be more than just a job to D. Is Charlotte really a captive? Or will another Dunpeal be born to this world?

Foreign Legion officer Galoup recalls his once glorious life, training troops in the Gulf of Djibouti. His existence there was happy, strict and regimented, until the arrival of a promising young recruit, Sentain, plants the seeds of jealousy in Galoup's mind.

In 1930s Korea, a swindler and a young woman pose as a Japanese count and a handmaiden to seduce a Japanese heiress and steal her fortune.

A few decades after the destruction of the Inca Empire, a Spanish expedition led by the infamous Aguirre leaves the mountains of Peru and goes down the Amazon River in search of the lost city of El Dorado. When great difficulties arise, Aguirre's men start to wonder whether their quest will lead them to prosperity or certain death.

A winner of awards across the world including Best Foreign Language Film Oscar, 5 BAFTA Awards including Best Actor, Original Screenplay and Score, the Grand Prize of the Jury at the Cannes Film Festival and many more.

Giuseppe Tornatore's loving homage to the cinema tells the story of Salvatore, a successful film director, returning home for the funeral of Alfredo, his old friend who was the projectionist at the local cinema throughout his childhood. Soon memories of his first love affair with the beautiful Elena and all the highs and lows that shaped his life come flooding back, as Salvatore reconnects with the community he left 30 years earlier.

At the beginning of the 1913 Mexican Revolution, greedy bandit Juan Miranda and idealist John H. Mallory, an Irish Republican Army explosives expert on the lam from the British, fall in with a band of revolutionaries plotting to strike a national bank. When it turns out that the government has been using the bank as a hiding place for illegally detained political prisoners -- who are freed by the blast -- Miranda becomes a revolutionary hero against his will.

A reworking of Louis Malle's New Wave classic The Fire Within, Joachim Trier's Cannes hit about a young man's fade-out is a triumph of sensitive insight and observation, a smart, sharp portrait that even finds within its heavy subject matter the chance for warmth.

One of the most influential cyberpunk films of all time, Tetsuo The Iron Man chronicles a salaryman's (Tomorowo Taguchi) transformation from man to metal after himself and his girlfriend (Kei Fujiwara) accidentally run down a metal fetishist (Shin’ya Tsukamoto) with their car. Soundtracked by pulsating punk, Tetsuo The Iron Man remains one of the most explosive films.

Sergei Parajanov's celebrated masterpiece paints an astonishing portrait of the 18th century Armenian poet Sayat Nova, the 'King of Song'. Parajanov's aim was not a conventional biography but a cinematic expression of his work, resulting in an extraordinary visual poem. Key moments in his subject's life are illustrated through a series of exquisitely orchestrated tableaux filled with rich colour and stunning iconography, each scene a celluloid painting alive with stylised movement.

From acclaimed director Abbis Kiarostami (Taste of Cherry, The Wind Will Carry Us) comes the story of a couple's apparent chance meeting in beautiful Tusccany. He (William Shimell) is a British author in town to talk about his new book. She (Juliette Binoche) is a French gallery owner in search of originality. Together they tour the local galleries, cafes and museums and discover that nothing is quite what it seems and truth, like art, is always open to interpretation. A captivating film, Certified Copy marries post-modern reality games with mature romantic comedy in a single playful and provocative package.

Tom Ripley, who deals in forged art, suggests a picture framer he knows would make a good hit man.

Japan has barely recovered from the Second World War when a gigantic peril emerges off the coast of Tokyo. Koichi, a deserter traumatised by his first confrontation with Godzilla, sees this as an opportunity to redeem his conduct during the war.

Filmmaker Genya Tachibana begins work on a documentary about famed Japanese actress Chiyoko Fujiwara. Now well into old age, Chiyoko has become reclusive and shy about any publicity, but she eventually warms up to Tachibana and starts to relate her life story. As the decades pass, Chiyoko is transformed from a teen with big dreams into a full-blown celebrity, while her cinematic characters span various eras, from ancient Japan to the distant future.

The tale of an eccentric band of culinary ronin who guide the widow of a noodle-shop owner on her quest for the perfect recipe, this rapturous “ramen western” by Japanese director Juzo Itami is an entertaining, genre-bending adventure underpinned by a deft satire of the way social conventions distort the most natural of human urges—our appetites. Interspersing the efforts of Tampopo (Nobuko Miyamoto) and friends to make her café a success with the erotic exploits of a gastronome gangster and glimpses of food culture both high and low, the sweet, sexy, and surreal Tampopo is a lavishly inclusive paean to the sensual joys of nourishment, and one of the most mouthwatering examples of food on film ever made.

This widely acclaimed film from Soviet director Elem Klimov is a stunning, senses-shattering plunge into the dehumanizing horrors of war. As Nazi forces encroach on his small village in present-day Belarus, teenage Flyora (Aleksei Kravchenko, in one of the screen’s most searing depictions of anguish since Renée Falconetti’s Joan of Arc) eagerly joins the Soviet resistance. Rather than the adventure and glory he envisioned, what he finds is a waking nightmare of unimaginable carnage and cruelty—rendered with a feverish, otherworldly intensity by Klimov’s subjective camerawork and expressionistic sound design. Nearly suppressed by Soviet censors who took eight years to approve its script, Come and See is perhaps the most visceral, impossible-to-forget antiwar film ever made.

It's 1944 and the Allies have invaded Nazi-held Europe. In Spain, a troop of soldiers are sent to a remote forest to flush out the rebels. They are led by Capitan Vidal, a murdering sadist, and with him are his new wife Carmen and her daughter from a previous marriage, 11-year-old Ofelia. Ofelia witnesses her stepfather's sadistic brutality and is drawn into Pan's Labyrinth, a magical world of mythical beings.

In an unnamed country at an unspecified time, there is a fiercely protected post-apocalyptic wasteland known as The Zone. An illegal guide (Aleksandr Kajdanovsky), whose mutant child suggests unspeakable horrors within The Zone, leads a writer (Anatoliy Solonitsyn) and a scientist (Nikolay Grinko) into the heart of the devastation in search of a mythical place known only as The Room. Anyone who enters The Room will supposedly have any of his earthly desires immediately fulfilled.

Tom Ripley (Alain Delon) travels to Italy to visit his playboy friend Phillippe Greenleaf (Maurice Ronet) and Phillippe's new fiancée, Marge Duval (Marie Laforêt). What Phillippe doesn't know is that his father has paid Tom to convince his son to abandon Europe and return to his family responsibilities in San Francisco. But when Phillippe's family cuts off their funding of Tom's extravagant lifestyle during his covert mission, he discovers another way to maintain his newfound standard of living.

Petty thug Michel (Jean-Paul Belmondo) considers himself a suave bad guy in the manner of Humphrey Bogart, but panics and impulsively kills a policeman while driving a stolen car. On the lam, he turns to his aspiring journalist girlfriend, Patricia (Jean Seberg), hiding out in her Paris apartment while he tries to pull together enough money to get the pair to Italy. But when Patricia learns that her boyfriend is being investigated for murder, she begins to question her loyalties.

On the verge of turning thirty, Julie is faced with a series of choices that force her to pursue new perspectives on her life in contemporary Oslo. Over the course of four years, she navigates love affairs and existential uncertainty as she starts deciding who she wants to become.

An American drug dealer living in Tokyo is betrayed by his best friend and killed in a drug deal. His soul, observing the repercussions of his death, seeks resurrection.

Yuddy, a Hong Kong playboy known for breaking girls' hearts, tries to find solace and the truth after discovering the woman who raised him isn't his mother.

Sisters Nora and Agnes reunite with their estranged father, the charismatic Gustav, a once-renowned director who offers stage actress Nora a role in what he hopes will be his comeback film. When Nora turns it down, she soon discovers he has given her part to an eager young Hollywood star.

Winner Cannes Film Festival 2025 Grand Prix

Art versus commerce, friendship versus status, independence versus conformity—values clash and collide in Edward Yang's study of an increasingly Westernized country heading into the twenty-first century without moral guideposts. Moving from breakout hit A Brighter Summer Day's investigation of the past to a critical survey of the present, A Confucian Confusion charts the tangled web of emotional and professional manipulations among a group of young urbanites. At its center is Molly (Ni Shu-chun), director of a floundering public-relations firm. Alienated by the childish fiancé (Bosen Wang) who bankrolls her enterprise—and frustrated by the demands of an assistant, Qiqi (Chen Shiang-chyi), and her own fiancé, Ming (Wang Wei-ming)—Molly lashes out at everyone in her path and threatens to dismantle the company altogether. Meanwhile (amid several other subplots), Molly's talk-show-host sister (Chen Li-mei) attempts to dissuade her separated husband from continuing to write a dark novel about the return of Confucius to a jaded modern society. Injecting comedic elements into his patented brand of earnest soul-searching, Yang finds humor as well as pathos in the desperate behavior of a lost and lonely generation.

Hirayama is content with his life as a toilet cleaner in Tokyo. Outside of his structured routine, he cherishes music on cassette tapes, books, and taking photos of trees. Through unexpected encounters, he reflects on finding beauty in the world.

Lola (Franka Potente) answers a red phone the same color as her punk rock hair. It’s her boyfriend Manni (Moritz Bleibtru), a small time courier for a big time gangster. He is at a pay phone with a big problem. His boss is coming to pick up 100,000 Deutsche Marks in twenty minutes, and Manni doesn’t have it. Due to an unfortunate series of events, he left it in a bag on a train. While the homeless man who grabbed the money is about to have a really good day, Lola is determined to figure a way out of this for Manni, so it’s not his last.

With Manni’s life on the line, Lola takes off running through the streets of Berlin to reach him and somehow pick up 100,000 marks along the way, making split-second decisions and encountering acquaintances, family, and strangers. She runs down sidewalks, into offices, through traffic and back again. As the clock ticks down, the tiniest choices become life altering (or life-ending) decisions, and the fine line between fate and fortune begins to blur.

Told in three variations with three endings, Run Lola Run is a fast-paced, kinetic exploration of destiny, set to a pumping dance music soundtrack and interspersed with animated interludes, flashbacks, and flashforwards that remind us of life's limitless possibilities.

When disillusioned Swedish knight Antonius Block (Max von Sydow) returns home from the Crusades to find his country in the grips of the Black Death, he challenges Death (Bengt Ekerot) to a chess match for his life. Tormented by the belief that God does not exist, Block sets off on a journey, meeting up with traveling players Jof (Nils Poppe) and his wife, Mia (Bibi Andersson), and becoming determined to evade Death long enough to commit one redemptive act while he still lives.

Edward Yang's penultimate film is an acerbic, sprawling tragicomedy, a poison love letter to Taipei as a rising cosmopolis of big money, big dreams, and big cons. Once more focusing on directionless youth, Yang depicts the four immature toughs who share the same apartment and, frequently, the same women. Led by the amoral Red Fish (Tang Tsung-sheng), the crew implements a slate of swindles and illicit business deals aimed at naive foreigners—including French teenager Marthe (Virginie Ledoyen), who is looking to reconnect with her older English lover (Nick Erickson)—and superstitious gold diggers (Carrie Ng). But when mobsters seek to collect on a debt owed by Red Fish's ex-criminal father (Chang Kuo-chu), they accidentally abduct translator Luen-Luen (Lawrence Ko), the only crew member with scruples and, seemingly, an ounce of compassion. In several intertwined tales of greed, violence, and shattered principles, Mahjong examines how a city can grow in power and wealth while abandoning its heart and soul.

A psychologist is sent to a station orbiting a distant planet in order to discover what has caused the crew to go insane.

During the ninth century, a general's young daughter is kidnapped and trained to become an exceptional assassin. When she doesn't execute a mission, she is ordered to kill her betrothed, forcing her to choose between love, family and the assassins.

A disheveled man who wanders out of the desert, Travis Henderson (Harry Dean Stanton) seems to have no idea who he is. When a stranger manages to contact his brother, Walt (Dean Stockwell), Travis is awkwardly reunited with his sibling. Travis has been missing for years, and his presence unsettles Walt and his family, which also includes Travis's own son, Hunter (Hunter Carson). Soon Travis must confront his wife, Jane (Nastassja Kinski), and try to put his life back together.

Wong Kar Wai’s loose sequel to In the Mood for Love combines that film’s languorous air of romantic longing with a dizzying time-hopping structure and avant-sci-fi twist. Tony Leung Chiu Wai reprises his role as writer Chow Mo-Wan, whose numerous failed relationships with women who drift in and out of his life (and the one who goes in and out of room 2046, down the hall from his apartment) inspire the delirious futuristic love story he pens. 2046’s dazzling fantasy sequences give Wong and two of his key collaborators—cinematographer Christopher Doyle and editor/costume designer/production designer William Chang Suk Ping—license to let their imaginations run wild, propelling the sumptuous visuals and operatic emotions skyward toward the sublime.

An angelically beautiful Catherine Deneuve was launched to stardom by this dazzling musical heart-tugger from Jacques Demy. She plays an umbrella-shop owner’s delicate daughter, glowing with first love for a handsome garage mechanic, played by Nino Castelnuovo. When the boy is shipped off to fight in Algeria, the two lovers must grow up quickly. Exquisitely designed in a kaleidoscope of colors, and told entirely through the lilting songs of the great composer Michel Legrand, The Umbrellas of Cherbourg is one of the most revered and unorthodox movie musicals of all time.

In this jazzy gangster film, reformed killer Tetsu's attempt to go straight is thwarted when his former cohorts call him back to Tokyo to help battle a rival gang. Director Seijun Suzuki's onslaught of stylized violence and trippy colors is equal parts Russ Meyer, Samuel Fuller, and Nagisa Oshima—an anything-goes, in-your-face rampage. Tokyo Drifter is a delirious highlight of the brilliantly excessive Japanese cinema of the sixties.

Troubled Italian filmmaker Guido Anselmi (Marcello Mastroianni) struggles with creative stasis as he attempts to get a new movie off the ground. Overwhelmed by his work and personal life, the director retreats into his thoughts, which often focus on his loves, both past and present, and frequently wander into fantastical territory. As he tries to sort out his many entanglements, romantic and otherwise, Anselmi finds his production becoming more and more autobiographical.

Godzilla is the roaring granddaddy of all monster movies. It’s also a remarkably humane and melancholy drama, made in Japan at a time when the country was reeling from nuclear attack and H-bomb testing in the Pacific. Its rampaging radioactive beast, the poignant embodiment of an entire population’s fears, became a beloved international icon of destruction, spawning almost thirty sequels.

On the planet Ygam, the Draags, extremely technologically and spiritually advanced blue humanoids, consider the tiny Oms, human beings descendants of Terra's inhabitants, as ignorant animals. Those who live in slavery are treated as simple pets and used to entertain Draag children; those who live hidden in the hostile wilderness of the planet are periodically hunted and ruthlessly slaughtered as if they were vermin.

Adapted from Sunil Gangopadhyay's celebrated 1968 novel, Days and Nights in the Forest is one of director Satyajit Ray's greatest achievements, a modern search for connection that conjures the timeless resonance of a folktale. Desperate to flee Calcutta's rat race, four friends—Ashim (Soumitra Chatterjee), Sanjoy (Subhendu Chatterjee), Hari (Samit Bhanja), and Shekhar (Rabi Ghosh)—drive to Palamu, one of India's rural “tribal lands,” where they bribe a watchman into letting them stay at a sylvan guesthouse. Despite vowing to get away from it all, the crew soon mixes with the locals, including a woodland family: the soulful yet mischievous Aparna (Sharmila Tagore) takes to the overconfident Ashim, while her widowed sister-in-law Jaya (Kaberi Bose) grows closer to the bookish Sanjoy. At the same time, Hari, fresh off a break-up, woos a Santal girl named Duli (Simi Garewal); and Shekhar, despite his own penchant for gambling, tries to rein in his companions' boozy hedonism. Filled with some of Ray's most indelible characterizations and lavish images (shot by longtime cinematographer Soumendu Roy), Days and Nights in the Forest touches on masculine vulnerabilities and Indian class divisions with the graceful complexity of a master at his peak.

An entomologist misses the last bus home and spends the night sharing a young widow’s desert shack, only to find the next morning that he’s unable to leave. He soon becomes psychologically and erotically entangled in her strange existence, which includes a daily ritual of shovelling away endlessly drifting sand. 

Winner of a Special Jury Prize at Cannes in 1964 and nominated for two Academy Awards for Best Foreign Film and Best Director, the film combines an extremely erotic drama with a terrifically gripping thriller. Adapted from Kobe Abe’s novel by acclaimed director Hiroshi Teshigahara, the film also features startling high-contrast black and white photography from Hiroshi Segawa and a superb minimalist score by Toru Takemitsu.

A neon-drenched trip through nocturnal Taipei, Millennium Mambo stars Shu Qi as Vicky, a bar hostess losing interest in her dull, garrulous boyfriend, and attracted to the mysterious, sensual gangster Jack. Built as a flashback from the future, she finds herself afloat amidst a world of ecstatic nights out and an undertow of nagging emptiness, torn between the two men.

Like Edward Yang (represented elsewhere at Cinema Rediscovered with his A Confucion Confusion), director Hou Hsiao-Hsien emerged as one the major figures of the Taiwanese New Wave, and even collaborated with Yang as a screenwriter on Taipei Story (1985).

Misunderstood at the time by critics and audiences as a misstep in Hou’s otherwise excellent track record, it’s now reclaimed as a vital cog in his filmography. Hou’s meditative style is front-and-centre in Millennium Mambo, aided by the presence of the sublime cinematographer Mark Lee Ping-bing, who at the time had just finished work on In the Mood for Love (2001).

After finishing up the school term in a remote outback town, teacher John Grant (Gary Bond) looks forward to spending his holiday with his girlfriend in Sydney. But John gets waylaid in a mining town where a gambling spree leaves him completely broke. He quickly falls in with the hard-drinking locals, who constantly ply him with alcohol and force him to participate in a gruesome kangaroo hunt. Disgusted, John tries to hitchhike out of town and, when that fails, begins to contemplate suicide.

After realizing that all world is spoiled, Marie and Marie are committed to be spoiled themselves. They rip off older men, feast in lavish meals and do all kinds of mischief. But what is all this leading to?

A daredevil driver is determined to compete in Redline, the most popular race in the galaxy. The race only occurs every five years, but in order to participate he must overcome the mafia, the government and even love.

This performance will feature a live score performed by Hugo Max.

Please view this YouTube video for a sample of Hugo's work.


Photo Credit - Richard Ecclestone

When they are fed rancid meat, the sailors on the Potemkin revolt against their harsh conditions. Led by Vakulinchuk (Aleksandr Antonov), the sailors kill the officers of the ship to gain their freedom. Vakulinchuk is also killed, and the people of Odessa honor him as a symbol of revolution. Tsarist soldiers arrive and massacre the civilians to quell the uprising. A squadron of ships is sent to overthrow the Potemkin, but the ships side with the revolt and refuse to attack.

An evil feudal lord rapes a village girl on her wedding night and proceeds to ruin her and her husband's lives. After she's eventually banished from her village, the girl makes a pact with the devil to gain magical ability and take revenge.

Jeanne Dielman (Delphine Seyrig), the widowed mother of a teenage son, Sylvain (Jan Decorte), ekes out a drab, repetitive existence in her tiny Brussels apartment. Jeanne's days are divided between humdrum domestic chores -- shopping, cooking, housework -- and her job as an occasional prostitute, which keeps her financially afloat. She seems perfectly resigned to her situation until a series of slight interruptions in her routine leads to unexpected and dramatic changes.

The ambassador of the Latin American republic of Miranda (Fernando Rey), M. Thevenot (Paul Frankeur), his wife Simone (Delphine Seyrig) and her sister Florence (Bulle Ogier) arrive for a dinner party at the house of Alice Sénéchal (Stéphane Audran) and her husband Henri (Jean-Pierre Cassel), only to learn that they were mistaken about the date. In director Luis Buñuel's surreal fantasy, the six bourgeois friends repeatedly gather for a dinner that never quite arrives.

A cop who loses his partner in a shoot-out with gun smugglers goes on a mission to catch them. In order to get closer to the leaders of the ring he joins forces with an undercover cop who's working as a gangster hitman. They use all means of excessive force to find them.

Please Note: We plan to have the 35mm print of Hard Boiled on site in the New Year to check on its quality, and if we find it is unsuitable for screening, we will switch to the new 4K restoration courtesy of Arrow Films!

Mob assassin Jeffrey is no ordinary hired gun; the best in his business, he views his chosen profession as a calling rather than simply a job. So, when beautiful nightclub chanteuse Jennie is blinded in the crossfire of his most recent hit, Jeffrey chooses to retire after one last job to pay for his unintended victim's sight-restoring operation. But when Jeffrey is double-crossed, he reluctantly joins forces with a rogue policeman to make things right.

Three childhood friends from the slums of Hong Kong flee to war-time Saigon after accidentally murdering a gang leader, but their troubles only escalate.

A reforming ex-gangster tries to reconcile with his estranged policeman brother, but the ties to his former gang are difficult to break.