This beautiful examination of the tradition of Japanese folding screen and scroll painting explores the sensuous style and innovative methods of Edo period painting and reveals its influence on Western art.

The epic adventure of seven Western women travelers on the Trans-Siberian Express who are ambushed by a band of Mongol horsewomen. “A rare and remarkable film. . . . Sumptuously stylized yet ardently observational” (New Yorker).

Ottinger’s glorious adaptation of a 1920s Ukrainian Soviet satire is both a picaresque post-revolutionary tale of avarice and a fascinating document of Ukraine circa 2004.

Ottinger traces the paths of past explorers in a multipart exploration of the peoples, landscapes, and legends of the Bering Sea. This extraordinarily beautiful work is perhaps Ottinger’s magnum opus.

The second chapter in Ottinger’s Arctic exploration takes her to Chukotka in the Russian Far East.

Ottinger travels from Chukotka to the remote outpost of Wrangel Island as her journey continues.

Ottinger’s Bering Sea voyage concludes with the peninsula of Kamchatka and Bering Island.

This personal portrait of the idiosyncratic German artist, filmmaker, and feminist traces her artistic development and offers insights into her singular body of work.

Ottinger’s latest film describes her experiences as a young artist living in Paris in the 1960s, evoking a place and time of intellectual, artistic, and political ferment.

In a film that is part documentary, part myth, Ottinger transports us to the Echigo region of northwestern Japan, where heavy snow blankets the landscape for more than half the year and distinctive ways of life have evolved.

Ottinger’s award-winning documentary on the Prater amusement park in Vienna draws a parallel between the illusionary business of carnival freak shows and the bygone era of a cinema of attractions.

A dive into Berlin’s seedy underside, courtesy of two women drinking themselves into oblivion. With appearances by Magdalena Montezuma, Nina Hagen, Eddie Constantine, and other cult stars.

“Virginia Woolf meets the German camp underground in this extravaganza of performance art and oddity” (Jonathan Rosenbaum). Ottinger’s gender-bending, boundary-breaking fantasy of world history features Magdalena Montezuma, Delphine Seyrig, and Eddie Constantine.

Delphine Seyrig plays Dr. Mabuse, the unscrupulous president of a multinational press conglomerate scheming up a new plan for world domination, in Ottinger’s Langian exploration of media manipulation.

Three of China’s greatest living authors share their stories and memories in Jia Zhangke’s tribute to storytelling, and to the connection between intellectual thought and working-class labor. “A spiritual depiction of China. Illuminating” (SOUTH CHINA MORNING POST).

A Parisian philosophy teacher, Jeanne, becomes entangled in her new friend Natacha’s plot to oust Natacha’s father’s young girlfriend in “one of Rohmer’s most formally restrained and emotionally unhinged films” (NEW YORKER).

Vacillating between two suitors and shuttling between gray Paris and chilly Nevers, Félicie dreams of reuniting with her ideal mate, with whom she had a summer fling—and a child. The film’s climax is a “subtly enacted miracle” (VILLAGE VOICE).

Set in Dinard, a holiday resort on the Brittany coast, this summer’s tale of romantic dreams is presented with the controlled grace of a master, dissecting every uncertain glance, every failed connection, and every hopeful touch.

A widowed vintner in southern France insists she has no time for romance; nonetheless, her friends set out to find her a companion. “Rohmer elegantly seduces us with people who have all of the alarming unpredictability of life” (Roger Ebert).

Shot on location in various regions of France in the 1990s, when Éric Rohmer was at the height of his powers, this four-film cycle probes the psychological and philosophical mysteries of love—elusive, imagined, or manifest.

For Dutta, the principality of Guler, with its long history of artistic expression, “became a laboratory that I went back to again and again, engaging with various aspects each time.” Plus two shorts that further explore the cultural history of the Western Himalayas.

Dutta painstakingly recreates the eighteenth-century artist Nainsukh’s brilliant miniature paintings through sumptuous compositions set amid palace ruins.

At ninety-one, Krishna Baldev Vaid (1927–2020), a pioneer of Hindi experimental writing living in New York, feels at a loss for words. Yet he is eager to access the “dance of language,” to which he has devoted his life. With shorts THE SCENT OF EARTH and TEN QUESTIONS FROM A CRITIC.

Featuring Sadie Barnette, Amy Franceschini, Jim Goldberg, Lynn Hershman Leeson, Alicia McCarthy, Tucker Nichols, Nigel Poor, and Michael Swaine, this documentary reflects on a Bay Area art scene less concerned with money and power than with imagination, innovation, community, and care.

In an exuberant, inventive, and poignant film about an American soldier’s sojourn in Paris, Melvin Van Peebles brilliantly balances French New Wave style with profound social critique and psychological substance.

If you are an Iranian man—a military conscript, or a certain functionary—you might be called upon to execute a fellow citizen convicted of some crime or another. Mohammad Rasoulof’s searing new drama tells of four such men.

Directed by the visionary Bengali filmmaker Ritwik Ghatak, THE CLOUD-CAPPED STAR tells the story of a family that has been uprooted by the partition of India and comes to depend on their eldest daughter, the self-sacrificing Neeta (Supriya Choudhury).

An exploration of love, art, and personal freedom, Zaida Bergroth’s engaging biopic spans ten years in the life of Tove Jansson, creator of the internationally beloved Moomin characters, and meticulously recreates her fascinating bohemian milieu.

An intricately constructed meditation on migration, the environment, science, and identity, SON OF MONARCHS follows biologist Mendel as he shuttles between New York City and Michoacán, Mexico, revealing the inspiration for his research and the source of a haunting trauma.

Mariam Ghani’s astute, entertaining, and illuminating documentary tracks Afghan film history through the lens of the country’s complicated political history.