Directed by Steven Soderbergh, 1989
R; 96 minutes
Pay-what-you-can tickets

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

Directed by Brett Sullivan
Musical; 141 minutes

"Hadestown is simultaneously a heart-wrenching and heart-warming magical story that is perfectly brought to life by the magnificent cast." —Justin Waldman, elementsofmadness.com

Cocoon: One Summer of Girlhood (2025): In the last days of the Second World War, the US invaded Okinawa. The fighting was fierce, as US troops tried to capture the entirety of Japan’s southernmost island of Japan. A group of 200 Japanese high school girls, known as the Himeyuri Gakutotai (Lily Princess Student Corps), had been “volunteered” to help Japanese Army medical units in the island’s many caves. But as the chaos of the frontline fighting took over, the girls were dismissed and told to go home—a near-impossible task in the midst of a battlefield.

Children Who Chase Lost Voices (2011): One of director Makoto Shinkai’s (Your Name and Suzume) earlier works, this film tells a fantasy story about Asuna, a young, introverted girl. When she is attacked by a strange creature, she is saved by a boy from the alternative world of “Agartha,” who then falls to his death. Asuna turns to her teacher, Mr. Morisaki, and together they begin the search to find this mysterious alternative world that may, or may not, be the land of the dead.

The Last Blossom (2025): Director Baku Kinoshita and writer Kazuya Konomoto, the team who brought us the wonderfully offbeat anime series ODDTAXI, pair up again to bring us the quirky film The Last Blossom. Yazuka henchman Atkutsa is on his deathbed in prison and discussing his life story with an unusual creature: a talking balsam flower growing in a tin can. In flashbacks, Atkutsa recounts his career in crime and argues that his main motivation in life was to care for his found family—Nana, the single mother he lived with, and her son, Kensuke.