The mother of all Law & Orders, Jules Dassin’s noir birthed the modern police procedural. A young woman winds up dead in her Manhattan apartment. A pair of NYPD detectives (Barry Fitzgerald and Don Taylor) catch the case, but find precious few clues. Dassin’s camera tails them through the real streets of New York (a radical gamb
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Summer Of Soul (...Or, When The Revolution Could Not Be Televised) is a feature documentary about the legendary 1969 Harlem Cultural Festival which celebrated African American music and culture, and promoted Black pride and unity.
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A documentary about Anthony Bourdain and his career as a chef, writer and host, revered and renowned for his authentic approach to food, culture and travel.
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Werner Herzog’s American dream. Addled street performer Stroszek (Bruno S. in a semiautobiographical role) emerges from prison and hooks up with a Berlin sex worker (Eva Mattes) who’s having no better luck in life than he is. Seeking a new start, they set off for the promised land—the bleak rural Wisconsin that Ed Gein made famo
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CatVideoFest is a compilation reel of the latest and best cat videos culled from countless hours of unique submissions and sourced animations, music videos, and classic internet powerhouses. CatVideoFest is a joyous communal experience, only available in theaters, and raises money for cats in need through partnerships with local
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Over the course of a hot summer day in Los Angeles, the lives of 25 young Angelenos intersect. A skating guitarist, a tagger, two wannabe rappers, an exasperated fast-food worker, a limo driver—they all weave in and out of each other’s stories. Through poetry they express life, love, heartache, family, home, and fear. One of the
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Don’t be surprised if, in another decade or three, Rear Window doesn’t overtake Vertigo as official apex Hitchcock. It, too, has Jimmy Stewart playing against typecasting as an obsessive creep, this time a photographer confined to a wheelchair in front of the title aperture. It, too, has a deadly mystery at its heart, and a gorg
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Andrei Tarkovsky’s most personal film is also his most inscrutable, and maybe his greatest. Mirror mirrors many aspects of and incidents in the director’s own life—a woman (Margarita Terekhova) based on his mother gets a lot of screen time, and the poems heard in voiceover were written and read by the director’s father. It’s plo
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Alvin Ailey was a trailblazing pioneer who found salvation through dance. AILEY traces the full contours of this brilliant and enigmatic man whose search for the truth in movement resulted in enduring choreography that centers on the Black American experience with grace, strength, and unparalleled beauty. Told through Ailey’s ow
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Fellini followed his phantasmagoric masterpiece 8 ½ in maybe the only way he possibly could have—by making his first color feature. Masina plays Juliet, the middle-aging wife of an affluent businessman (Mario Pisu), whom she suspects is cheating on her. Her inane circle of family, friends, and neighbors is no help, and soon drea
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Like many of Ingmar Bergman’s films, Persona carries a reputation for “arty” impenetrability that belies its abundant cinematic pleasures. For all its dream sequences and fourth-wall ruptures, it’s also a sublime four-hander as a famous actress fallen mute (Liv Ullmann) and her nervously chatty nurse (Bibi Andersson) find their
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The great Kenji Mizoguchi (Ugetsu, Sansho the Bailiff) ended his career with a little-seen drama about the lives of sex workers in modern-day Tokyo. “Dreamland” is a legal brothel, but the Japanese government is considering outlawing prostitution, forcing the women who work there (Michiyo Kogure, Machiko Kyô, Ayako Wakao, Aiko M
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The mystery surrounding the Salvator Mundi, the first painting by Leonardo da Vinci to be discovered for more than a century, which has now seemingly gone missing.
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This is where it all came together for Hong Kong auteur Wong Kar-wai. The jumble of elements he’d arranged and rearranged for his first two features—aimless young men, competing love interests, lovelorn cops, a desultory crime plot, well-placed pop songs—took flight in this effervescent indie romance. The crowded streets of wor
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Fellini’s international breakthrough balanced the grit of Italian neorealism with the elemental simplicity of a fairytale or fable. A brutish carnival strongman (Anthony Quinn) dragoons an innocent waif (Fellini’s gamine wife and muse Giulietta Masina) into becoming his assistant/drudge, mistreating her terribly but never quite
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