From award-winning director Ben Affleck, AIR reveals the unbelievable game-changing partnership between a then-rookie Michael Jordan and Nike’s fledgling basketball division which revolutionized the world of sports and contemporary culture with the Air Jordan brand. This moving story follows the career-defining gamble of an unconventional team with everything on the line, the uncompromising vision of a mother who knows the worth of her son’s immense talent, and the basketball phenom who would become the greatest of all time.

Hosted by R.E.M. biographer Tony Fletcher Featuring REM covers by musicians Juliana Nash, Andy Shernoff, Joe Magistro and Noel Fletcher. In April 1983, R.E.M., a little known four-piece from Athens, GA released Murmur, a landmark debut album that would not only propel the band on a steady path towards 1990s global fame, with total album sales topping 65,000,000, but that almost singlehandedly opened up the “alternative” “college rock” music scene to the American mainstream. Now, almost 40 years to the day from its release, best selling music biographer Tony Fletcher, author of Perfect Circle: The Story of R.E.M., will host an interactive presentation on Murmur. Elaborating on his belief that Michael Stipe, Peter Buck, Mike Mills and Bill Berry comprised the Perfect Rock Group, he will discuss the group’s origins, why Murmur had such an impact, how R.E.M. became one of the biggest bands in the world while continuing to make friends and influence people, and why their music – from “Radio Free Europe” to “Everybody Hurts,” “Fall On Me” to “Man on the Moon” – continues to reach new generations. The event will include performances of Murmur songs by special guest musicians, rare video footage and other surprises. Signed books will be available for purchase.

After Mark (Sean Connery) falls for the criminally calculating Marnie (Tippi Hedren), he hires her … and then entraps her into marriage. Hitchcock’s most disturbing film, made more so by his own boundary-crossing on-set obsession for his lead actress, spills out of genre mastery and into the more complex, troubling and provocative arena of the art film. The flat sets, reminiscent of German Expressionism, heighten the intensit through their sense of unreality. (U.S., 1964, 130m) “Hitchcock’s best film … psychologically resonant, visually transcendent.” –New Yorker

Hitchcock’s biggest commercial success, made intentionally on a B-movie budget, follows an on-the-lam secretary (Janet Leigh). At the worn-out Bates Hotel, she meets the owner (Anthony Perkins), who is happy to work on his taxidermy but not his relationship to his mother. The rest is cinema history: PYSCHO rewrote the rules of horror films, Hollywood success and movie music. “It wasn’t a message that stirred the audiences,” Hitch told Francois Truffault, “nor was it a great performance…they were aroused by pure film … I was playing them, like an organ.” (U.S., 1960, 109m) “Immortal … it connects directly with our fears.” –Roger Ebert

A professional photographer (Jimmy Stewart), confined to a wheelchair in his Greenwich Village apartment after an accident is attended by a nurse (Thelma Ritter) and his friend (Grace Kelly), becomes obsessed with his neighbors, who include, perhaps, a murderer … A stunning work of formal inventiveness, mystery and, yes, romance. (U.S., 1954, 115m) “One of those rare films without imperfection or weakness … each scene by itself is a gamble that has been won … It is rare to find such a precise idea of the world in a film.” –Francois Truffaut

Hitch’s classic, shot inventively on the cheap as the eve of America’s entrance into World War II, follows a factory worker (Robert Cummings) accused of setting a deadly fire at an airplane plant. Thus begins a nationwide pursuit of the man he suspects is the real villain (Norman Lloyd) … only to find a powerful cabal at the end of the line. A taut, entertaining thriller, with scenes written by Dorothy Parker. (U.S., 1942, 108m) “Hitchcock at his best” –Time

Though he can be truly charming, Uncle Charlie (Joseph Cotten) is not who he appears to be, as his adoring niece (Teresa Wright) begins to realize after he pays a visit to her Norman Rockwell-like town. Hitchcock’s team of writers included Thornton Wilder, who knew something about the undercurrents that course through the life of a tight-knit community. (U.S., 1943, 108m) “Funny, gripping, and expertly shot … a small but memorable gem.” –Time Out

Revival House with live original music by Alicia Svigals and Donald Sosin E.A. Dupont’s once-lost, now-restored 1923 German masterpiece tells the inspired-by-fact story of a rabbi’s son (Ernst Deutsch) who shuns the shtetl to become an actor, and finds temptation from an archduchess (Henny Porten). The cast is filled with Berlin’s finest stage and screen actors; the exquisite design is by a group of gifted, visionary artists. The film is accompanied by a live, original score composed and performed by the world-famous klezmer violinist Alicia Svigals (co-founder of the Grammy-winning Klezmatics) and pianist Donald Sosin, a silent film music legend. A sensational evening of history, music and spectacle. (Germany, 1923, 135m). “A lost gem .. The cinematography is spectacular, emulating the light and shadow of a Rembrandt etching.” –Film Society at Lincoln Center

When a wealthy socialite (Tippi Hedren) follows a charming lawyer (Rod Taylor) to his coastal town, the two find themselves in the middle of a truly terrifying disaster: the birds in town, without warning or reason, have gone on the attack. Hitchcock, adapting Daphne DeMaurier’s short story, created the film without music, instead intensifying the sounds of the natural world into an otherworldly, haunting score that taps our deepest fears. (U.S., 1963, 119m) “A major work of cinematic art, and cinematic is the operative term here” –Andrew Sarris, Village Voice

Rural Ireland. 1981. Nine-year-old Cait is sent away from her overcrowded, dysfunctional family to live with foster parents for the summer. Quietly struggling at school and at home, she has learned to hide in plain sight from those around her. In his debut, director Colm Bairead tells the story of a girl who, away from her home, begins to blossom, but discovers one painful truth. The highest-grossing Irish language film ever; winner, Berlin Film Festival. (Ireland, 2022, 96m) “A heartfelt tale, made with the deepest sincerity, and packed with soulful portrayals and lovely imagery.” –L.A. Times

For decades, critics have rated Hitchcock’s story of obsession, manipulation and fear as one of cinema’s top five works: VERTIGO’s power endures today. The story follows a detective (Jimmy Stewart) who is forced to retire due to his fear of heights. When he sees a woman who reminds him of someone who died tragically (Kim Novak), he’s pulled into a psychological vortex. Music by Bernard Hermann, costumes by Edith Head, titles by Saul Bass, cinematography by Robert Burks: legends, all. (U.S., 1958, 128m) “One of the landmarks—not merely of the movies, but of 20th-century art” –Chicago Reader