This documentary follows two friends as they explore what reparations means to them. Selina, who is Black, and Macky, who is white, have been friends and filmmaking partners for 25 years. Genealogy nerds, they travel south to reclaim and reckon with their roots. In the process they move from awkward outsiders toward belonging to broad kin networks who come along for the ride. From kitchen tables to porches, lost cemeteries to discovered diaries, their journeys lead to unexpected opportunities that transform their friendship, families and communities. In Acts of Reparation, we see everyday Americans become the change they want to see in the world. (dir. Macky & Selina Lewis Davidson & Macky Alston, U.S., 2024, 113 min.)

Amidst Soho’s flourishing folk scene of the mid-60s, Jackson C. Frank released a masterpiece album, produced by fellow American expat Paul Simon. Jackson was close to Paul Simon and Art Garfunkel and was a vital musical influence for so many, like Bert Jansch, Nick Drake, Counting Crows, Graham Coxon, John Mayer and Laura Marling. However, after the release of his album, he disappeared without a trace. With physical disabilities and severe PTSD as a result of a childhood tragedy, his mental health deteriorated. While absent, his musical influence greatly increased over the years. That’s when a young music fan decided to seek him out. This film follows in Frank's footsteps to unknot the threads of a unique artist with a dire fate. (dir. Damien Aimé Dupont|France & UK, 2024, 84 min.) Director Damien Aimé Dupont will be joined in person by cinematographer Étienne Grosbois and Jackson's friend and guardian Jim Abbott.

A massive surveillance, militarized and carceral apparatus has been built to capture, imprison and deport millions of immigrants. But in the shadow of this border industrial-complex, immigrants are building a movement envisioning a future rooted in human rights. We meet Kaxh Mura’l, a Mayan man who would qualify for legal asylum but must undergo Kafka-esque challenges and Gabriela Castañeda, a Dreamer and mother whose citizenship was suddenly revoked. Then there are scholars who describe themselves as “digital humanists,” who trace the flow of money toward politicians on all sides of the issue. (dir. Pamela Yates, U.S./Mexico, 2025, 110 min.)

In her new memoir, “Care and Feeding,” Laurie Woolever looks back on 20 tumultuous, exhilarating years with two of America’s biggest celebrity chefs. It's a candid account of tending to high-wattage celebrities, and of working as a woman, wife and mother in a wildly male-dominated industry. It’s also a reckoning with the high-risk behaviors that tied the three together. She will be in conversation with the legendary author Ruth Reichl, interspersed by some video clips from her colorful history.

Begun in the summer of 1968 near Mt. Shasta in California, Black Bear Ranch was a utopian free-love experiment that attracted hippies and political idealists seeking “to get away from America.” They pressured movie stars and rock musicians to donate to their cause. A dozen people were expected to live there, but 40 showed up, then it quickly swelled to 100. The commune’s scorn for the “bourgeois decadence” of couples resulted in bed swapping before they paired off and had babies. This affectionate, keen-eyed documentary, now celebrating its 20th anniversary, intertwines present-day interviews with vintage home movies reinforcing the sense that the old commune and the new one are one and the same. (dir. Jonathan Berman, U.S., 2005, 78 min.)

Math is a gatekeeper in the US. In an increasingly algorithm-and-data-driven 21st century, assumptions made about a child’s mathematical ability affect their odds of finding future success. This revealing and urgent documentary weaves together a mosaic of voices and stories across generations and professions to explain the detrimental effects of declining math skills on civic participation, legal rulings, and fulfilling careers. Do we want an America in which most of us don’t consider ourselves “math people”? Why does math proficiency go down as students grow up? Or do we want a country where everyone can understand the math that undergirds our society—and can help shape it? (dir. Vicki Abeles, U.S., 2024, 89 min.)

Using vibrant archival footage and firsthand accounts, this gripping documentary explores the NYC fiscal crisis of 1975, an extraordinary, overlooked episode in urban American history that saw an already struggling city of 8 million people brought to the edge of bankruptcy and social chaos by a perfect storm of greed, incompetence, overextended social policy and poor governance. (dir. Michael Rohatyn & Peter Yost, U.S., 2024, 109 min.)

Back by popular demand! Legendary filmmaker Ralph Arlyck reflects on friends, family, and experiences that have become the fabric of his life. This richly textured film embraces the changes that come with age and the wonder of fulfillment during the time that remains. (dir. Ralph Arlyck, U.S, 2022, 88 min.)

Charles Burnett’s legendary, rarely seen 1977 movie about a family in the Watts ghetto has been newly restored in 4k. Begun while Burnett was a student at UCLA film school, it was shot on weekends in the Watts ghetto for $10,000 with a mostly amateur cast. Killer of Sheep is a lyrical, yet intensely rooted, tragic vision viewed through the eyes of Stan, a slaughterhouse worker ground down by poverty. It is a timeless vision that demands to be seen on a big screen. The new 4K restoration restores the original closing song, Dinah Washington’s performance of “Unforgettable.” (dir. Charles Burnett, U.S., 1978, 75 min.)

A breakthrough film in bloated Old Hollywood becoming the vibrant New Hollywood, Midnight Cowboy is the story of two outcasts — a naive young hustler (Dustin Hoffman) and an ailing conman (Jon Voight)— who form a friendship in the squalid streets of ’60s New York City. Winner of the Academy Award for Best Picture, the film was a catalyst for using cinema as a way to shed light on the turbulent reality of its time. It was the product of a rich collaboration between newly arrived British filmmaker John Schlesinger and his collaborators, chiefly Polish cinematographer Adam Holender who, using grainy film and fisheye lenses, succeeded in capturing the spirit of the city as a dirty, seductive wonderland. Holender, now 87, is credited with changing the whole look of American film, and he will be appearing in person to present his first film. (dir. John Schlesinger, U.S., 1969, 113 min.)

October 8 offers a look at antisemitism on college campuses, social media and in the streets of America beginning the day after the October 7th attack on Israel by Hamas. Documentarian Wendy Sachs (Surge) anchors her film with often-moving first-person student testimony interspersed with appearances by writers, politicians and other nonstudents. Presented by the Jewish Federation of Dutchess County. (dir. Wendy Sachs, U.S., 2024, 100 min.)

Jacob Elordi and Daisy Edgar-Jones star in this slow-burning, noir-western about secret yearnings in the 1950s. The film purposely throws its audience for a tonal loop within a world whose balance is upset when a waylord gambler named Julius (Elordi) returns from the Korean War to the Kansas home of his brother Lee (Will Poulter) and Lee’s fiance Muriel (Edgar-Jones). Adapted from Shannon Pufahl’s same-titled novel, the film is driven by carnal appetites and a longing to break free of societal expectations. On Swift Horses is about the shapes love can take, the varied lives we live and the many different ways one can make a home. (dir. David Minhahan, U.S., 2025, 102 min.)

A brand-new 4K restoration, with IMAX and Dolby Atmos. Filmed at a pivotal point in the band’s career, the film took the unique approach of featuring the band performing in the ancient Roman amphitheater to no crowd, creating a singular atmosphere that has had a lasting influence on how music and live performance are captured on screen. The newly restored 4K version, scanned from the original negative, presents the first full 90-minute cut, combining the 60-minute source edit of the performance, with additional Abbey Road Studios documentary segments covering the recording of 1973’s The Dark Side of the Moon. The amphitheater concert includes performances of seminal tracks Echoes and One of These Days, alongside earlier hits Set the Controls for the Heart of the Sun and A Saucerful of Secrets. Also features a brand new audio remix by Steven Wilson of Porcupine Tree, preserving the authenticity and spirit of the original recording.

In 2003, eight Rhode Islanders created a secret apartment inside the busy Providence Place Mall and kept it going for four years, filming everything along the way. Far more than just a wild prank, the secret mall apartment became a life-changing experience for all the participants. It also was an act of defiance against local gentrification and a boundary-pushing work of public/private art. (dir. Jeremy Workman, U.S., 2024, 91 min.)

THE BALLAD OF WALLIS ISLAND follows Charles (Tim Key), an eccentric lottery winner who lives alone on a remote island and dreams of getting his favorite musicians, McGwyer Mortimer (Tom Basden & Carey Mulligan) back together. His fantasy turns into reality when the bandmates and former lovers accept his invitation to play a private show at his home on Wallis Island. Old tensions resurface as Charles tries desperately to salvage his dream gig.

Inspired by Hitchcock’s transitional Blackmail (April 18, Orpheum) we continue a 1929 series with some of the earliest talkies. Dorothy Arzner’s raucous pre-Code comedy stars “It Girl” Clara Bow in her—and Paramount’s first talkie.’ It skyrocketed Arzner’s career – she was the first out lesbian director to work in Hollywood. Clara Bow was 24 and was the biggest female star in America. The Wild Party is about a flirty co-ed attending a college where no one ever studies, and her romantic conquest of a stuffy anthropology professor, played by Frederic March. It is groundbreaking in its theme of female friendship –Bow’s spares a friend’s reputation by taking the blame for a transgression herself. (dir. Dorothy Arzner, U.S., 1929, 77 min.)