(Ayoka Chenzira, 1994, 85 min) Alma’s Rainbow is a coming-of-age comedy-drama about three Black women in Brooklyn. Directed by Ayoka Chenzira, it follows teenager Rainbow Gold (Victoria Gabrielle Platt) as she navigates womanhood, beauty standards, and self-image while living with her straight-laced mother, Alma (Kim Weston-Moran), who runs a beauty parlor at home. The arrival of Alma's free-spirited sister Ruby (Mizan Kirby) from Paris sparks a clash over Rainbow's future. Ruby brings with her a vibrant world where Black women exercise their agency and embrace life and love.

(Joel & Ethan Coen, 1984, 99 min) Joel and Ethan Coen’s darkly comic journey through misfit America began with Blood Simple, a razor-sharp neo-noir set in Texas. The late, great M. Emmet Walsh stars as a morally bankrupt private eye, while Frances McDormand’s debut performance launched her career. The Coens' tight scripting and inventive style, combined with Barry Sonnenfeld's neon-infused cinematography and Carter Burwell's haunting score, reinvented film noir and transformed the American independent cinema scene.

(Spike Lee, 1994, 115 min) Written with his siblings, Joie and Cinqué, Crooklyn is a semi-autobiographical Spike Lee Joint. A familial effort that started specifically with a script by Spike Lee’s sister, Joie Lee, entitled Hot Peas and Butter, the name of a street game the kids used to play. “The film’s enduring power lies in Spike’s ability to capture the heart of what love and loss looks like for the Carmichael family, and by extension, any family. For me, putting a Black girl at the center of a story anyone in the world could relate to only solidifies the film’s legacy. But for Joie Lee, who was simply writing a story about herself and her family, race was never a question. ‘I don’t think of Crooklyn as cerebral, I think of it as celebratory,’ she said. ‘Crooklyn is a film about memory.’” - Danielle Cadet, Refinery29

(Billy Wilder, 1944, 107 min) Nominated for seven Academy Awards at the 17th Oscars, Double Indemnity is one of the most influential noir films ever made. It set the aesthetic standard with new techniques that became film noir staples like using venetian blinds to cast shadows on a scene and narration from the protagonist throughout the film. The script was a collaboration between Billy Wilder and Raymond Chandler. Starring Fred MacMurray, Barbara Stanwyck, and Edward G. Robinson, this is a classic you can’t afford to miss.

(Masaki Kobayashi, 1964, 203 min) After more than a decade of sober political dramas and socially minded period pieces, the great Japanese director Masaki Kobayashi shifted gears dramatically for this rapturously stylized quartet of ghost stories. Featuring colorfully surreal sets and luminous cinematography, these haunting tales of demonic comeuppance and spiritual trials, adapted from writer Lafcadio Hearn’s collections of Japanese folklore, are existentially frightening and meticulously crafted.

(Oliver Stone, 1994, 119 min) Oscar-nominees Woody Harrelson, Juliette Lewis, and Academy Award-winners Tommy Lee Jones and Robert Downey, Jr. lead an all-star cast in director Oliver Stone's gripping and satirical look at violence, murder and the American media, from a story by Oscar-winner Quentin Tarantino, as told through the eyes of two of the most terrifying, relentless, cold-blooded (and popular) mass murderers imaginable.

(Elia Kazan, 1954, 108 min) Earning eight Academy Awards including Best Picture, Best Director (Elia Kazan), Best Actor (Marlon Brando), and Best Supporting Actress (Eva Marie Saint), On the Waterfront features some of cinema’s great performances. Also nominated for Best Supporting Actor were Lee J. Cobb, Karl Malden, and Rod Steiger. If that weren’t enough, the film features a completely original (not from other source material) Oscar Nominated score by Leonard Bernstein. Unlike the lead protagonist, Terry Malloy, an ex-boxer whose career is cut short by the mob, On the Waterfront was a contender and even better, a winner.

(Billy Wilder, 1954, 113 min) Nominated for six Academy Awards at the 27th Oscars, Sabrina is charming, humorous, and aglow with some of Hollywood's greatest stars. Humphrey Bogart, William Holden and Audrey Hepburn star in a Cinderella story directed by renowned filmmaker Billy Wilder (Double Indemnity, Sunset Boulevard, Some Like It Hot). Bogie and Holden are the Larrabee brothers of Long Island. Bogie's all work, Holden's all play. But when Sabrina, daughter of the family's chauffeur, returns from Paris all grown up and glamorous, the brothers fall under the spell of Hepburn's delightful charms.

There will be no preshow/previews before the film. The film will begin at the posted showtime. SEVEN SAMURAI has a built-in, 10 minute intermission approximately 1hr46min into the film. The 212min runtime includes the 10 minute intermission. (Akira Kurosawa, 1954, 212 min) One of the most thrilling movie epics of all time, Seven Samurai (Shichinin no samurai) tells the story of a sixteenth-century village whose desperate inhabitants hire the eponymous warriors to protect them from invading bandits. This three-hour ride from Akira Kurosawa—featuring legendary actors Toshiro Mifune and Takashi Shimura—seamlessly weaves philosophy and entertainment, delicate human emotions and relentless action, into a rich, evocative, and unforgettable tale of courage and hope. Showings of this film will feature a 10 minute intermission.

(Jim Jarmusch, 1984, 89 min) With this breakout film, Jim Jarmusch became a standout voice in the independent film scene, known for his offbeat Americana style. He follows rootless Hungarian émigré Willie (John Lurie), his pal Eddie (Richard Edson), and his visiting cousin Eva (Eszter Balint) as they drift from New York's Lower East Side to Lake Erie and Florida, making the least of every destination. Stranger Than Paradise is a deadpan comedy masterpiece, structured as master-shot vignettes in black and white by cinematographer Tom DiCillo.

(John Sayles, 1984, 108 min) “Writer-director John Sayles plays with gentle irony on conventions of the American slave narrative in chronicling the adventures of ‘The Brother,’ a mute alien who comes to Harlem by way of Ellis Island (and outer space). The Brother’s seriocomic encounters with barflies and junkies, racist cops and street preachers—as well as ordinary folks just trying to get by—offer a timeless tale of two cities, segregated as always by race and class yet pulsating with immigrant life.” - MoMA

(Barry Levinson, 1984, 138 min) Based on the 1952 novel by Bernard Malamud, The Natural is equal parts American epic, sports fantasy, and film noir with a touch of magical realism. It could be smooth sailing for Wonderboy Roy Hobbs, the young rising star trying out for the big leagues, but he’s sidetracked by a mysterious woman and her cruel intentions. In this career spanning tale imbued with wonder and mystery by Randy Newman’s iconic, Oscar Nominated, Coplandesque score, something’s always in the air. It’s hard to say just what it is. Starring Robert Redford, Glenn Close, Robert Duvall, Kim Basinger, and Wilford Brimley.

The feature directorial debut of Josh Margolin, THELMA is a poignant action-comedy that gives veteran Oscar® nominee June Squibb (NEBRASKA) her first leading role and features the final performance of trailblazing actor Richard Roundtree (SHAFT). Squibb, who did most of her own stunts in the film, plays Thelma Post, a feisty 93-year-old grandmother who gets conned by a phone scammer pretending to be her grandson (The White Lotus’ Fred Hechinger) and sets out on a treacherous quest across Los Angeles, accompanied by an aging friend (Roundtree) and his motorized scooter, to reclaim what was taken from her. Parker Posey, Clark Gregg, and Malcolm McDowell also star. Inspired by a real-life experience of Margolin’s own grandmother, THELMA puts a clever spin on movies like MISSION: IMPOSSIBLE, shining the spotlight on an elderly grandmother as an unlikely action hero. With infectious humor, Margolin employs the familiar tropes of the action genre in hilarious, age-appropriate ways to tackle aging with agency. In the first leading film role of her 70-year career, Squibb portrays the strong-willed Thelma with grit and determination, demonstrating that she is more than capable of taking care of business – despite what her daughter Gail (Posey), son-in-law Alan (Gregg), or grandson Danny might believe.

(Krzysztof Kieslowski, 1993, 94 min) Juliette Binoche gives a tour de force performance as Julie, a woman reeling from the tragic death of her husband and young daughter, in this first film from Krzysztof Kieślowski’s Three Colors trilogy. But Blue is more than just a blistering study of grief; it’s also a tale of liberation, as Julie attempts to free herself from the past while confronting truths about the life of her late husband, a composer. Shot in sapphire tones by Sławomir Idziak and set to an extraordinary operatic score by Zbigniew Preisner, Blue is an overwhelming sensory experience.

(Krzysztof Kieslowski, 1994, 99 min) An incandescent meditation on fate and chance, Red closes Krzysztof Kieślowski’s Three Colors trilogy in grand fashion. Irène Jacob stars as a sweet-souled yet somber runway model in Geneva whose life dramatically intersects with that of a bitter retired judge, played by Jean‑Louis Trintignant. Meanwhile, just down the street, a seemingly unrelated story of jealousy and betrayal unfolds. Red is an intimate look at forged connections and a splendid final statement from a remarkable filmmaker at the height of his powers.

(Krzysztof Kieslowski, 1994, 88 min) The most playful and gritty film of Krzysztof Kieślowski’s Three Colors trilogy, White follows Polish immigrant Karol Karol (Zbigniew Zamachowski) in France. When his wife (Julie Delpy) sues for divorce and frames him for arson, he returns to Warsaw to plot an elaborate revenge. This dark comedy explores economic inequalities between Eastern and Western Europe and offers a sublime take on twisted love.

"Inspiring, rousing, and romantic, this biopic about a visionary young widow who built a champagne empire is a historical drama for wine lovers that’s best watched with a glass of bubbly in hand." - Louisa Moore, Screen Zealots After her husband's untimely death, Barbe-Nicole Ponsardin Clicquot flouts convention by assuming the reins of the fledgling wine business they had nurtured together. Steering the company through dizzying political and financial reversals, she defies her critics and revolutionizes the champagne industry to become one of the world's first great businesswomen.