The great mythological and psychological themes that animate John Boorman's films are given a contemporary inflection in this blackly comic crime drama about a Dublin gangster who runs afoul of both the police and the IRA. One of Boorman's finest works, it is also his most trenchant examination of late twentieth-century Ireland. The General was awarded Best Director at the 1998 Cannes Film Festival, and Boorman's mastery of movement, rhythm, space, and performance is evident throughout. Presented in the original black-and-white version.

To commemorate the 80th anniversary of the end of the Second World War, Syberberg has produced Nightsong. An extension of his Demmin Cantos (2024), it powerfully connects the physical spaces in Demmin with the wartime memories embedded within and around them. Structured as a War Requiem, Nightsong incorporates extended extracts from the Latin Requiem of Mozart and the German Requiem of Brahms into its densely layered montage. The short 80 Years After (2025), which provides context for the events of 1945 and Nightsong, is included as a supplement. With English subtitles.

Lyrical Nitrate was the first of several found footage films that Peter Delpeut made from the Jean Desmet collection of EYE Filmmuseum in Amsterdam. Desmet worked in every area of the film industry between 1907 and 1916 - the period in which narrative films became increasingly sophisticated and transitioned from small theaters housing a few people to ever-expanding movie palaces - and he preserved tinted nitrate prints of many of the films he distributed. Delpeut reworked the material into a rich montage that is as illuminating as it is moving. Lyrical Nitrate makes clear that the presence of color and even signs of decay deepen the phantasmagoric experience of motion in early cinema. Subtitles available.

With lyricism and wit, director Peter Delpeut and composer Loek Dikker have drawn fresh attention to the power of silent film, given new meaning to fragments of found footage, and helped to revitalize poetic cinema in the Netherlands.

Writer-director-actor Victor Sjöström was the most renowned director of Swedish silent cinema, celebrated worldwide for his use of location shooting, innovative lighting, and focus on carefully modulated and scaled gestures. As with his 19th century literary precursor Henrik Ibsen, realism, myth, and fantasy are seamlessly interwoven. The Symbolist strain of Sjöström's work is especially pronounced in this influential adaptation of a Selma Lagerlöf novel. Visually astonishing in-camera double exposures gain resonance from a psychologically complex series of nested flashbacks. Presented in a tinted restoration, with a score courtesy of Matti Bye. Subtitles available.

In our portrait film, James Gray describes imbibing the writings of Fyodor Dostoevsky from early childhood. The influence is particularly strong in Two Lovers, a reworking of the iconic story "White Nights" (1848) that also incorporates elements from "Notes from Underground" (1864). Like Dostoevsky's Underground Man, the protagonist seems to have psychically merged with the constrained space he inhabits to such a degree that travel from his home in Brighton Beach, Brooklyn, to Lincoln Center in Manhattan feels like a journey to another world. Gray depicts his interior transformation through rich chiaroscuro, elegant mise-en-scène, comic irony, and a singular approach to Italian opera.

One of the definitive noir films, Scarlet Street stands at the confluence of German Expressionism and Classical Hollywood. Financed through a short-lived independent company that director Fritz Lang established with lead actress Joan Bennett and producer Walter Wanger, the film is a faithful adaption of a novel by Georges de La Fouchardière (also turned into a film by Jean Renoir in 1931). Through structurally precise staging, elegant camera movements, and American cinematographer Milton R. Krasner's rich chiaroscuro, Lang turns the gradual unraveling of an amateur painter into his most powerful statement on conscience and the creative imagination.

Little Odessa (1994) is James Gray's first and most austere film. An intimate family drama that powerfully reworks motifs from Exodus, it begins in total darkness and boldly uses contemporary music by John Tavener and Arvo Pärt. Its use of movement, aria-like repetition, and extended gestures announced the emergence of one of contemporary cinema's most distinctive voices.

Both austere and expressionistic, The Passion of Joan of Arc is one of cinema’s great anomalies. Danish director Carl Theodor Dreyer employed a historical advisor and based his script on the transcripts of Joan’s trial, but he challenged the aesthetic conventions of the period. Totally eschewing conventional forms of cutting, Dreyer creates his own internal system of communication, held together by glances. Broad pans across the judges are intercut with close-ups of Joan to create the impression that she is the unmoved center of a circle, the axis around which everyone else orbits. This audacious structure forces the viewer to confront the most fundamental questions of belief. Dreyer's original cut is presented, as intended, silently and at 20 frames per second. English subtitles available.

Writer-producer Thomas H. Ince was - along with D. W. Griffith, Maurice Tourneur, and Cecil B. DeMille - one of the key figures of the American cinema during the years before Hollywood was fully established. For this moving saga of the immigrant experience of the 1910s, Ince hired the Winnipeg-born, Scotland-raised director Reginald Barker. The fluidity and psychological acuity of the framing, camera movement, and editing are eloquently complemented by the expressive close-ups of lead actor George Beban. Restored by the Library of Congress. Score by Ben Model.

Widely considered the first successful British talkie, Blackmail began as a silent film. Director Alfred Hitchcock used the mobility of silent film shooting for the elaborate set pieces (culminating in the British Museum) and cast native Czech speaker Anny Ondra as the prototype of his female leads. Her dialogue was later dubbed, and Hitchcock made judicious use of expressionistic sound to draw the viewer into her subjective space and deepen the moral and psychological dynamics of what may be his first masterpiece.

One of the most authentic voices in contemporary cinema, James Gray extends the legacies of both European art cinema and the American independent cinema of the 1970s. His intimate epics reaffirm the cinematic power of myth, music, and gesture.

Caroline Champetier's extraordinary documentary is structured around an encounter with one of the pre-eminent cinematographers of the previous generation. Bruno Nuytten was widely celebrated for his work with directors such as Marguerite Duras, Andrzej Żuławski, André Téchiné, and Jean-Luc Godard, directed four films of his own, and then disappeared from cinema. Nuytten/Film explores the reasons why and provides unique insights into the cinematographic process and the nature of image-making.

Director Nobuhiro Suwa's most celebrated film grapples with the unrepresentable, the dropping of the atomic bomb on his native Hiroshima. Both before and behind the camera, Suwa attempts to respond to both the extant documentary material and to Alain Resnais's iconic memory film Hiroshima mon amour (1959). Cinematographer Caroline Champetier created some of the deepest, most voluptuous blacks of her career in the film, and they are movingly connected to both the act of filming and the challenges of visual perception.

An "appendix" to the then-ongoing Histoire(s) du cinéma project (1988-1998), The Children Play Russian is a video essay made just after the collapse of the Soviet Union. By juxtaposing and superimposing fragments from Russian and Soviet films with contemporary footage shot by cinematographer Caroline Champetier, Godard constructs a contrapuntal meditation on lost utopias, the relationship between montage and icons, and the nature of the cinematic image.

Cinematic pioneer Léonce Perret worked in many genres and was most famous in the early 1910s for his comedies, but The Mystery of the Rocks of Kador demonstrates his keen grasp of crime and melodrama. The central gambit is that the cinematograph can be a vehicle for psychotherapy and the awakening of repressed memories, and this is reinforced through subtle repetitions of gesture, composition, and lighting. Perret and cinematographer Georges Specht shot as much of the film as possible on location in Finistère, and they transform the rocky Breton seascape into an integral part of the psychological drama.

Cinematographer Caroline Champetier's rigor, precision, and mastery of light and composition have made her a creative partner to four generations of eminent filmmakers, including Leos Carax, Jacques Rivette, Chantal Akerman, Nobuhiro Suwa, Arnaud Desplechin, Xavier Beauvois, Claude Lanzmann, Philippe Garrel, and above all Jean-Luc Godard.