Directed by Arne Glimcher, 1992
R; 105 minutes

“A spirited evocation of the mambo craze which swept post-war America, adapted from Oscar Hijuelos' Pulitzer Prize-winning novel.” —Derek Adams, Time Out

The story of Cuban brothers Cesar (Armand Assante) and Nestor Castillo (Antonio Banderas), who bring their unique sounds to New York in search of fame and fortune. While Cesar revels in fame and the adoration of the women, Nestor increasingly finds himself mourning his homeland and lost love.

Directed by Federico Fellini, 1954
NR; 108 minutes

“Anthony Quinn as the strong man and Richard Basehart as a derisive rival are excellent. As the girl, Giulietta Masina is extraordinarily touching and gives a performance hard to forget.” —Newsweek

Directed by Klaus Härö, 2022
NR; 103 minutes

“Filled with sage wisdom and vulnerable people struggling to do the best that they can even when they are at their worst. It’s a lovely indie.” —Randy Myers, San Jose Mercury News

Directed by David Lowery, 2018
PG-13; 93 minutes

“The Old Man & the Gun generally feels like the best kind of tribute, one that understands the material so well that it inhabits its very essence.” —Eric Kohn, IndieWire

Directed by John Huston, 1952
NR; 120 minutes

Moulin Rouge stands out as a truly artistic production flawlessly directed by John Huston and presenting superb performances by [José] Ferrer, Colette Marchand, and Suzanne Flon, and Technicolor photography of a beauty rarely achieved on the screen.” —The Hollywood Reporter

Directed by Rob Marshall, 2002
PG-13; 113 minutes

“Not since the 1972 Cabaret has there been a movie musical this stirring, intelligent and exciting.” —Desson Thomson, Washington Post

Directed by Martin Scorsese, 1977
PG; 155 minutes

“New York, New York, like most Martin Scorsese films, is about the trials and glories of making art.” —Chuck Bowen, Slant Magazine

Directed by William Wyler, 1968
G; 151 minutes

"When she [Barbra Streisand] is singing—in a marvelous scene on roller skates—when she throws a line away, or shrugs, or looks funny or sad, she has a power, gentleness and intensity that rather knocks all the props and sets and camera angles on their ear.” — Renata Adler, New York Times