During the 1960s, a London photographer believes he has inadvertently photographed evidence of a murder only to have the evidence mysteriously disappear. Blow-up is a stylish study of paranoid intrigue and disorientation.

Television broadcasting debuted in Sweden in 1957. And Swedish public broadcaster SVT began covering Israel and Palestine almost from day one. In ISRAEL PALESTINE ON SWEDISH TV 1958-1989, filmmaker Göran Hugo Olsson (The Black Power Mixtape 1967-1975) masterfully weaves together some of this footage, telling the story of the rise of the Israeli state and the Palestinian struggle for self-determination — as seen by Swedish media. For the first decade, SVT coverage is mostly positive. There is a sense of affinity for Israel’s collective efforts in agriculture, housing, medicine, and what is then openly called colonization. But over time the Palestinians move from the sidelines to center stage. There is hope, there is confusion, there is disillusionment and despair. ISRAEL PALESTINE ON SWEDISH TV 1958-1989 features interviews with key political and military figures, and highlights historic events like the Six Day War, the 1972 Munich Olympic attack, the first Intifada, and the massacres at the Sabra and Shatila refugee camps. But the film also shares more intimate, rarely seen stories. We meet Palestinian resistance fighters training in the desert, a Bedouin Israeli with torn allegiances, idealistic Swedish peacekeepers, and West Bank journalists trying to put out their paper under strict censorship. Olsson draws on material from a variety of programs — interview shows, investigative reportage, news stories, magazine-style pieces and even children’s programming. The result is an illuminating look at a changing media landscape and the framing of one of the most significant and intractable conflicts of our times.

Vahid, an unassuming mechanic, has a chance encounter with Eghbal, a man he strongly suspects to be his former sadistic jailhouse captor. Panicked, Vahid gathers several former prisoners, all abused by that same captor, to try and confirm Eghbal's identity. As the bickering group drives around Tehran with the captive, they must confront how far to take matters into their own hands with their presumed tormentor. From master filmmaker Jafar Panahi comes a searing moral thriller that engages with complex ideas about the uncertainty of the truth and the choice between revenge and mercy, as Panahi turns his personal dissonance into a profound and galvanizing work of art.

Julia Loktev documents independent journalists in Moscow facing government crackdown as Russia invades Ukraine, capturing their fight for speech amid risks of being branded "foreign agents" and the country's drift towards authoritarianism.

Tony is back from prison after taking a rap and is ready to settle a few scores and mastermind a brilliant jewel heist. A worldwide smash hit, Rififi earned director Jules Dassin the Best Director prize at Cannes and set the standard for screen robberies for decades to come. (dir. Jules Dassin, France, 1955, 118 min.)

A master safecracker (James Caan) takes on one last job for the mafia, in his hopes of leaving his life of crime. (dir. Michael Mann, U.S., 1981, 122 min.)