Directed by Bill Condon, 2006
PG-13; 130 minutes
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Directed by Robert Bresson, 1959
NR; 75 minutes
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A young, unemployed Parisian, Michel (Martin LaSalle) passes the time by picking pockets, becoming obsessed with the thrill of stealing despite being watched by the police. His friend Jacques (Pierre Leymarie) is suspicious of his actions but tries to help him; meanwhile Michel avoids visiting his ailing mother (Dolly Scal) but leaves money for her with Jeanne (Marika Green), his mother’s pretty neighbor.

Directed by Douglas Sirk, 1959
NR; 125 minutes
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This acclaimed melodrama from 1959 explores the intertwined lives of two single mothers and their daughters. After an unexpected encounter, white aspiring actress and widowed mother Lora Meredith (Lana Turner) and her daughter decide to take in Black housekeeper Annie Johnson (Juanita Moore) and her light-skinned daughter. Together, they form a household shaped by ambition, sacrifice, and painful questions of race, identity, and motherhood.

Directed by Steven Soderbergh, 1989
R; 96 minutes
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Ann (Andie MacDowell) is trapped in a sexually and emotionally unfulfilled relationship with her husband, John (Peter Gallagher), a successful but unpleasant lawyer who is sleeping with her sister, Cynthia (Laura San Giacomo). The underlying tensions in the couple's marriage rise to the surface when Graham (James Spader), a friend of John's from college who's been drifting for nine years, returns to town and videotapes Cynthia and Ann as they talk about their sexual desires.

Directed by Michael Curtiz, 1954
NR; 120 minutes

“Bing Crosby and Danny Kaye, along with VistaVision, keep the entertainment going in this fancifully staged production, clicking well.” —Variety (1954)

Directed by Robert Lewis, 1956
TV-PG; 106 minutes

“Bing Crosby and Donald O’Connor go together as though born to give the zip to what scripter Sidney Sheldon has concocted.” —Variety (1956)

Directed by Michael Curtiz, 1946
TV-G; 130 minutes

“With Cary Grant giving a casual and thoroughly ingratiating performance as the gifted songwriter, and with Monty Wooley on hand to let some delightfully acid comments drop ... the new Technicolored opus ... moves with slick cinematic and rhythmical ease from one Porter hit tune to another.” —The New York Times (1946)

Directed by Norman Panama and Melvin Frank, 1956
NR; 101 minutes

“[The Court Jester] should be in every discussion of the best comedy scripts in Hollywood history … this film is now deservedly recognized as a complete delight, for laughs, for music, and for a tour-de-force performance by the amazing Danny Kaye.” — Keith Humphreys, All Good Movies

Directed by Charles Walters, 1956
TV-PG; 111 minutes

“There's a priceless contribution from Louis Armstrong, and the Cole Porter tunes put the movie on an unanswerable gold standard.” —Peter Bradshaw, The Guardian