Daniel, the Wizard

Fassbinder in Hollywood

Monsieur Truffaut Meets Mr. Hitchcock

Ernst Lubitsch in Berlin: From Schönhauser Allee to Hollywood

The Cinema and its Double: Rainer Werner Fassbinder's 'Despair' Revisited

The Mysteries of Paris: Jacques Rivette's Out 1 Revisited

Contract Kid: William Reynolds on Douglas Sirk

Swan Song: The Story of Billy Wilder's Fedora

Moral Tales, Filmic Issues: A Conversation between Barbet Schroeder and Eric Rohmer

Film Beyond Cinema: The Dumpster Kid Experiment and Other Utopias

Last of the Independents: Don Siegel and the Making of 'Charley Varrick'

The Beast Inside: Creating 'Wolf'

Starting Out: The Making of Jerzy Skolimowski's Deep End

Program Notes: An Introduction To The Last Detail By Alexander Payne

A Cinema of Signs: Claude Chabrol on Alfred Hitchcock

Rag Doll Memories: Nancy Allen on 'Blow Out'

Requiem for a Killer: The Making of 'Blast of Silence'

Return to Beethoven Street: Sam Fuller in Germany

Reviving Harry Lime

Acting for Douglas Sirk

Cop Stories: The Making of Richard Fleischer’s ‘The New Centurions’

Traveling Roadshow

Love Letters

Dalton Trumbo: Rebel in Hollywood

Sucker Punch Blues: A Look Back on John Huston's 'Fat City'

About a Trip: Alexander Payne on Hal Ashby's 'The Last Detail'

A Search For Truth: Robert C. Jones On Hal Ashby’s 'The Last Detail'

Perspectives on Othello: Joseph McBride on Orson Welles

Will He Live or Will He Die: Walter Hill on Southern Comfort

Working with Max Ophuls: Alain Jessua on the Making of Madame de...

Rumble on the Lot: Walter Hill's Streets of Fire Revisited

Eine Zärtlichkeit wie bei Sirk - Todd Haynes über Fassbinder und das Melodram

'Deep End': Remembering the Deleted Scenes

Outer Movement, Inner Movement

Spinning Tales: Fiona Lewis on Brian De Palma's 'The Fury'

The Beauty of the Land: Anthony Slide on Andre De Toth and the Indian Fighter

Budd Boetticher on the Ranown Cycle

Love/Work/Cinema: A Conversation with Christian Petzold and Nina Hoss

Douglas Sirk erzählt...Zarah Leander und 'Zu neuen Ufern'

Crazy Love: Janet Bergstrom on Josef von Sternberg's 'Morocco'

Pure Cinema: Joe Napolitano on Brian De Palma's Body Double

Jack Arnold Remembers The Incredible Shrinking Man

The Making of Highlander

Return to Philadelphia: George Litto on 'Blow Out'

Maternal Overdrive

Weimar on the Pacific

Cinema Redefined: Jacques Rivette's L'Amour Fou Revisited

Kurosawa and the Censors

Beyond Melodrama: Kathryn Bigelow on Douglas Sirk

Expedition Amazonia

Working with Max Ophuls: Daniel Gélin on "Le Plaisir"

The Fury: A Location Journal

Working with Max Ophuls: Tony Aboyantz, Assistant Director

Infinite Pleasure: Todd Haynes on Max Ophuls' Le Plaisir

Working with Max Ophuls: Daniel Gélin on "La Ronde"

Working with Max Ophuls: Robert Christidès, Set Decorator

Making an American Movie

Black and White in Color: Vilmos Zsigmond on 'Blow Out'

Illusion of Freedom: Richard H. Kline on John Frankenheimer's Birdman of Alcatraz

Ted Kotcheff's Gourmet Cinema

Dietrich Icon

Life As It Is: Miloš Forman on Miloš Forman

A Tribute to Douglas Sirk by Allison Anders

Ganz Berlin lacht sich kaputt: Wie die 'Berliner Ballade' entstand

The Poet and the Filmmaker: Volker Schlöndorff on Baal

Homay King on 'Shanghai Express'

Working with François Truffaut: Nestor Almendros, Director of Photography

Men of Mystery

Touching Death: Alejandro Amenábar on 'Tesis'

Working with Max Ophuls: Annette Wademant, Co-Writer

Of Love and Constraints

Le Plaisir: From Script to Screen

A Winter's War: Keith Gordon on 'A Midnight Clear'

Blood on the Lens: Richard H. Kline on Brian De Palma's 'The Fury'

G.W. Pabst's 'Westfront 1918': An Introduction by Jan-Christopher Horak

Working with Max Ophuls: Marc Frédérix, Assistant Decorator

Erinnerungen an 'Väter und Söhne'

Painting with Light: Nicholas von Sternberg on Josef von Sternberg

G.W. Pabst's 'Kameradschaft': An Introduction by Jan-Christopher Horak

Before Taking Off: Milos Forman’s Road to America

Circles of Desire: Alan Williams on Max Ophuls' "La Ronde"

Real Killer, Fake Nose: Richard Fleischer's 'The Boston Strangler' Remembered

Hans Fromm on 'Phoenix'