Ryan GallagherEach month, the programmers at the Criterion Channel produce incredible line-ups for their subscribers. For December, the Channel will feature films from Alfred Hitchcock, Niki Lindroth von Bahr, Elisabeth Subrin, and more!
Below you’ll find the programming schedule for the month, along with a complete list of titles that Criterion has in store for us. Don’t forget to check the Criterion Channel’s main page regularly though, as they occasionally will drop surprises that aren’t included in the official press release.
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FEATURED SERIES
Premiering December 1
Hitchcock for the Holidays
Merry Hitch-mas! During this season of light, embrace the darkness with a holiday helping of favorites from the Master of Suspense. For five decades, Alfred Hitchcock explored our innermost anxieties, desires, and obsessions in his diabolically constructed thrillers, which redefined the mechanics of screen terror through meticulous editing, voyeuristic camera work, and unforgettable set pieces. In early British classics like The 39 Steps and Sabotage, endlessly studied and imitated Hollywood masterpieces such as Rear Window and Vertigo, and fascinatingly personal late-career statements like Marnie and Frenzy, Hitchcock tapped into the peculiar pleasures of fear like no filmmaker before or since.
- The Lodger: A Story of the London Fog, 1927
- Downhill, 1927
- The Man Who Knew Too Much, 1934
- The 39 Steps, 1935
- Sabotage, 1936
- Young and Innocent, 1937
- The Lady Vanishes, 1938
- Foreign Correspondent, 1940
- Saboteur, 1942
- Shadow of a Doubt, 1943
- Lifeboat, 1944
- Rope, 1948
- Rear Window, 1954
- The Trouble with Harry, 1955
- The Man Who Knew Too Much, 1956
- Vertigo, 1958
- Marnie, 1964
- Torn Curtain, 1966
- Topaz, 1969
- Frenzy, 1972
- Family Plot, 1976
Photo by: John Rawlings/Condé Nast/Shutterstock
Female Gaze: Women Directors + Women Cinematographers
This sprawling selection of films both directed and shot by women testifies to an extraordinary tradition of female collaboration behind the camera. Spanning the last half century of cinema and including work by trailblazing director-cinematographer duos such as Chantal Akerman and Babette Mangolte (Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles; News from Home), Claire Denis and Agnès Godard (Beau Travail, Let the Sunshine In), and Jane Campion and Sally Bongers (A Girl’s Own Story, Sweetie), as well as fruitful recent partnerships like Céline Sciamma and Crystel Fournier (Tomboy, Girlhood) and Josephine Decker and Ashley Connor (Butter on the Latch, Thou Wast Mild and Lovely), these extraordinary films reveal a vital legacy of visionary women seizing the tools of visual storytelling and opening up new possibilities for cinema.
Features
- Film About a Woman Who …, Yvonne Rainer, 1974 (DP Babette Mangolte)
- Daguerréotypes, Agnès Varda, 1975 (DPs Nurith Aviv and William Lubtchansky)
- Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, Chantal Akerman, 1975 (DP Babette Mangolte)
- News from Home, Chantal Akerman, 1976 (DPs Babette Mangolte and Jim Asbell)
- Mur Murs, Agnes Varda, 1981 (DP Nurith Aviv)
- The Willmar 8, Lee Grant, 1981 (DP Judy Irola)*
- The Gold Diggers, Sally Potter, 1983 (DP Babette Mangolte)
- Jane B. par Agnès V., Agnès Varda, 1988 (DPs Nurith Aviv and Pierre-Laurent Chénieux)
- Sweetie, Jane Campion, 1989 (DP Sally Bongers)
- Go Fish, Rose Troche, 1994 (DP Ann T. Rossetti)
- Angela, Rebecca Miller, 1995 (DP Ellen Kuras)
- The Incredibly True Adventure of Two Girls in Love, Maria Maggenti, 1995 (DP Tami Reiker)
- Nenette and Boni, Claire Denis, 1996 (DP Agnès Godard)
- High Art, Lisa Cholodenko, 1998 (DP Tami Reiker)
- Beau travail, Claire Denis, 1999 (DP Agnès Godard)
- Conversations with Intellectuals About Selena, Lourdes Portillo, 1999 (DP Emiko Omori)
- La captive, Chantal Akerman, 2000 (DP Sabine Lancelin)
- Personal Velocity, Rebecca Miller, 2002 (DP Ellen Kuras)
- The Headless Woman, Lucrecia Martel, 2008 (DP Bárbara Álvarez)
- Home, Ursula Meier, 2008 (DP Agnès Godard)
- Shooting Women, Alexis Krasilovsky, 2008 (DPs Erika Addis, Michelle Crenshaw, Kristin R. Glover, Eva Testor, Yoshiko Osawa)
- The Milk of Sorrow, Claudia Llosa, 2009 (DP Natasha Braier)
- The Oath, Laura Poitras, 2010 (DP Kirsten Johnson)
- Tomboy, Céline Sciamma, 2011 (DP Crystel Fournier)
- Sister, Ursula Meier, 2012 (DP Agnès Godard)
- Stories We Tell, Sarah Polley, 2012 (DP Iris Ng)
- Butter on the Latch, Josephine Decker, 2013 (DP Ashley Connor)
- Karaoke Girl, Visra Vichit-Vadakan, 2013 (DP Sandi Sissel)
- Citizenfour, Laura Poitras, 2014 (DPs Kirsten Johnson, Trevor Paglen, Laura Poitras, and Katy Scoggin)
- Girlhood, Céline Sciamma, 2014 (DP Crystel Fournier)
- Second Coming, Debbie Tucker Green, 2014 (DP Ula Pontikos)
- Thou Wast Mild and Lovely, Josephine Decker, 2014 (DP Ashley Connor)
- The Wonders, Alice Rohrwacher, 2014 (DP Hélène Louvart)
- The Second Mother, Anna Muylaert, 2015 (DP Bárbara Alvarez)
- The Innocents, Anne Fontaine, 2016 (DP Caroline Champetier)
- Let the Sunshine In, Claire Denis, 2017 (DP Agnès Godard)
- A Family Submerged, Maria Alché, 2018 (DP Hélène Louvert)
- The Miseducation of Cameron Post, Desiree Akhavan, 2018 (DP Ashley Connor)
- Ste. Anne, Rhayne Vermette, 2021 (DPs Kristiane Church, Amanda Kindzierski, Lindsay McIntyre, Rhayne Vermette, and Erin Weisgerber)
Shorts
- Joyce at 34, Joyce Chopra and Claudia Weill, 1972 (DP Claudia Weill)
- Girls at 12, Joyce Chopra, 1975 (DP Joan Weidman)
- Clorae and Albie, Joyce Chopra, 1976 (DP Joan Weidman)
- A Girl’s Own Story, Jane Campion, 1984 (DP Sally Bongers)
- Odds and Ends, Michelle Parkerson, 1993 (DP Michelle Crenshaw)
- Swimmer, Lynne Ramsay, 2012 (DP Natasha Braier)
- Social Butterfly, Lauren Wolkstein, 2013 (DP Clémence Thurninger)
- Roberta, Caroline Monnet, 2014 (DP Stéphanie Anne Weber Biron)
- I Dream You Dream of Me, Jennifer Reeder, 2018 (DP Eve Cohen)
- Moving, Adinah Dancyger, 2019 (DP Mia Cioffi Henry)
*Available Jan 1
Italian Neorealism
Featuring a new introduction by film scholar David Forgacs
From the rubble of a devastated postwar Italy, an extraordinary artistic flowering sprang forth that soon took the world by storm. Led by figures such as Roberto Rossellini, Vittorio De Sica, and Luchino Visconti, a generation of filmmakers gave stirring expression to the concerns, struggles, and humanity of ordinary, working-class people with a blend of earthy naturalism and bittersweet lyricism. From early postwar landmarks like Rome Open City and Bicycle Thieves through later films like Rocco and His Brothers and Il posto that built upon neorealism’s concerns while opening up new thematic and aesthetic territory, this overview showcases multiple masterpieces that forever changed the course of film history by revealing the drama and poetry inherent in everyday life.
- The Children Are Watching Us, 1943, Vittorio De Sica
- Rome Open City, Roberto Rossellini, 1945
- The Bandit, Alberto Lattuada, 1946
- Paisan, Roberto Rossellini, 1946
- Bicycle Thieves, Vittorio De Sica, 1948
- Germany Year Zero, Roberto Rossellini, 1948
- Bitter Rice, Giuseppe De Santis, 1949
- The Mill on the Po, Alberto Lattuada, 1949
- The Flowers of St. Francis, Roberto Rossellini, 1950
- Stromboli, Roberto Rossellini, 1950
- Variety Lights, Federico Fellini and Alberto Lattuada, 1950
- Europa ’51, Roberto Rossellini, 1952
- Umberto D., Vittorio De Sica, 1952
- I vitelloni, Federico Fellini, 1953
- The Gold of Naples, Vittorio De Sica, 1954
- Journey to Italy, Roberto Rossellini, 1954
- La strada, Federico Fellini, 1954
- Rocco and His Brothers, Luchino Visconti, 1960
- Girl in the Window, Luciano Emmer, 1961
- Il posto, Ermanno Olmi, 1961
- Salvatore Giuliano, Francesco Rosi, 1962
Starring Glenda Jackson
One of the most lauded performers of her generation, Glenda Jackson is known both for her dazzling work on stage and screen and, in later years, her commanding career as an outspoken member of the UK Parliament’s left wing (referring to herself as an “antisocial socialist”). Bringing an air of steely vulnerability to her intense portrayals of complex women, she has collaborated with provocative filmmakers like John Schlesinger (in the groundbreaking queer relationship drama Sunday Bloody Sunday) and Ken Russell (in the deliriously unhinged Tchaikovsky antibiopic The Music Lovers) but has proven herself equally at home in lighthearted romps like the breezy spy comedy Hopscotch opposite Walter Matthau.
- Sunday Bloody Sunday, John Schlesinger, 1971
- The Music Lovers, Ken Russell, 1971
- The Maids, Christopher Miles, 1975
- Stevie, Robert Enders, 1978
- Hopscotch, Ronald Neame, 1980
- The Return of the Soldier, Alan Bridges, 1982
Starring Joseph Cotten
When Orson Welles took Hollywood by storm in the early 1940s, he brought with him several members of his celebrated Mercury Theatre company—including the distinguished, mellifluous-voiced Joseph Cotten, who would go on to star in some of the greatest films of the decade under some of the era’s foremost directors. To classics like Welles’s The Magnificent Ambersons, Alfred Hitchcock’s Shadow of a Doubt (in which the actor offers an unforgettably unnerving portrayal of evil incarnate), and George Cukor’s Gaslight, Cotten brought both a moody sensitivity and an intriguingly cynical edge that lent depth and nuance to each of his delicately shaded performances.
- The Magnificent Ambersons, Orson Welles, 1942
- Shadow of a Doubt, Alfred Hitchcock, 1943
- Gaslight, George Cukor, 1944
- The Third Man, Carol Reed, 1949
- Niagara, Henry Hathaway, 1953
Streaming Premieres
Wednesday, December 1
The Incredibly True Adventure of Two Girls in Love
Breaking new ground in queer representation when it was released in 1995, this tender and charming tale of first love traces the tentative relationship that develops between two high-school girls from very different worlds. Randy (Laurel Holloman) is a white, tomboyish outsider working at her aunt’s gas station; Evie (Nicole Ari Parker) is a popular, well-off Black girl with a boyfriend. As an unlikely friendship built around poetry and music deepens into attraction, director Maria Maggenti captures the muddled emotions of adolescent romance with warmth, humor, and refreshing authenticity.
Preservation funding provided by the Sundance Institute in collaboration with Strand Releasing.
Wednesday, December 1
Ste. Anne
The hallucinatory debut feature by Rhayne Vermette is a stylistically adventurous meditation on the landscapes of her native Manitoba, impressionistically shot on dreamy 16 mm. As a party wanders into the night, word arrives that Renée (played by Vermette) has returned. Missing for years, her sudden reappearance unsettles her family, including her brother and his wife, who have been raising Renée’s daughter as their own. As Renée begins to reassemble the fragments of her past, ominous premonitions disrupt the land. Shot over the course of two years, Ste. Anne traces an allegorical reclamation of land through personal, symbolic, and historical sites all across Treaty 1 territory, heartland of the Métis Nation.
Monday, December 6
Lydia Lunch: The War Is Never Over
Lydia Lunch: The War Is Never Over is the first career-spanning documentary retrospective of Lydia Lunch’s confrontational, acerbic, and always electric artistry. As New York City’s preeminent No Wave icon, Lunch has forged a lifetime of music and spoken-word performance devoted to the rights of all women to indulge, seek pleasure, and raise their voices in rage as loud as any man. Through intimate behind-the-scenes footage and interviews with Lunch’s longtime collaborators and colleagues, director Beth B examines Lunch’s work and her quest to empower women to voice the unheard and break the cycle of violence against them. What emerges is a thought-provoking portrait of a fearlessly transgressive artist who has consistently defied patriarchal expectations while forging a vocabulary of rare emotional honesty, philosophy, and humor.
CRITERION EDITIONS
Premiering December 1
Throw Down: Criterion Collection Edition #1092
The dazzlingly prolific Hong Kong master craftsman Johnnie To delivers a thrilling love letter to the cinema of Akira Kurosawa and to the art and philosophy of judo.
SUPPLEMENTAL FEATURES: A making-of documentary and interviews with To, coscreenwriter Yau Nai-hoi, composer Peter Kam, and film scholars David Bordwell and Caroline Guo.
Downhill Racer: Criterion Collection Edition #494
Astonishing Alpine location photography and a young Robert Redford are just two of the visual splendors of this visceral study of a ruthlessly ambitious skier competing for Olympic gold.
SUPPLEMENTAL FEATURES: Interviews with Redford, screenwriter James Salter, editor Richard Harris, production manager Walter Coblenz, and former downhill skier Joe Jay Jalbert, and more.
The Magnificent Ambersons: Criterion Collection Edition #952
Orson Welles’s beautiful, nostalgia-suffused follow-up to Citizen Kane is an emotionally rich family saga and a masterful elegy for a bygone chapter of American life.
SUPPLEMENTAL FEATURES: Two audio commentaries by scholars Robert L. Carringer and James Naremore and critic Jonathan Rosenbaum, audio interviews with Welles conducted by filmmaker Peter Bogdanovich, video essays, and more.
Sunday Bloody Sunday: Criterion Collection Edition #629
John Schlesinger’s groundbreaking portrait of a bisexual love triangle may be the seventies’ most intelligent, multitextured film about the complexities of romantic relationships.
SUPPLEMENTAL FEATURES: Interviews with Schlesinger, cinematographer Billy Williams, actor Murray Head, production designer Luciana Arrighi, John Schlesinger biographer William J. Mann, and Schlesinger’s longtime partner, photographer Michael Childers.
Ratcatcher: Criterion Collection Edition #162
In her breathtaking and assured debut feature, Lynne Ramsay creates a haunting evocation of a troubled Glasgow childhood in a work at once raw and deeply poetic.
SUPPLEMENTAL FEATURES: Interviews with Ramsay and cinematographer Alwin Küchler and three short films by Ramsay.
Criterion Originals
Thursday, December 9
Observations on Film Art No. 45: CinemaScope in Contempt
Having explored Jean-Luc Godard’s iconoclastic use of the boxy 4:3 aspect ratio in Vivre sa vie in the previous edition of Observations on Film Art, Professor David Bordwell here breaks down the French New Wave renegade’s equally experimental use of the elongated CinemaScope frame in another of his 1960s masterpieces, Contempt. While in Vivre sa vie Godard used the square frame to craft an intensely up-close portrait of a woman, in Contempt—a study of a marriage in breakdown spectacularly set against the coast of Italy—he pushed the aesthetic possibilities of CinemaScope to their limits, creating a work that is as much about landscape and environment as it is about human beings.
Women Filmmakers
Wednesday, December 1
Films by Elisabeth Subrin
Featuring a new interview with the filmmaker
Filmmaker and artist Elisabeth Subrin has long explored female subjectivity and representation through her formally restless, conceptually driven shorts, which include tributes to photographer Francesca Woodman and actor Maria Schneider. With the arresting character study A Woman, a Part, Subrin made the leap to feature filmmaking. This complex investigation of female friendship, the representation of women in media, and the difficulties of reckoning with change stars Maggie Siff in a tour-de-force performance as an exhausted fortysomething actor who returns the theater world of New York where her career began and finds that restarting her life may not be so simple.
Feature
- A Woman, a Part, 2016
Shorts
- Swallow, 1995
- The Fancy, 2000
- Sweet Ruin, 2008
- For Maria, 2019
Wednesday, December 15
The Gold Diggers
Made with an all-woman crew, Sally Potter’s bold feature debut is a surrealist science-fiction musical that explores the link between female cinematic representation and capitalist exploitation.
Wednesday, December 22
Second Coming
Celebrated playwright Debbie Tucker Green makes her fascinating directorial debut with this enigmatic, engrossing, and brilliantly performed portrait of a Black British family navigating a seemingly unexplainable crisis.
Wednesday, December 29
High Art
A mesmerizing Ally Sheedy stars as a photographer loosely based on Nan Goldin in Lisa Cholodenko’s smart and sexy tale of ambition, sacrifice, and seduction in the nineties New York art world.
More women filmmakers featured in this month’s programming:
- Female Gaze: Women Directors + Women Cinematographers
- The Incredibly True Adventure of Two Girls in Love, Maria Maggenti, 1995
- Gasman, Lynne Ramsay, 1998
- Ratcatcher, Lynne Ramsay, 1999
- The Beaches of Agnès, Agnès Varda, 2008
- Lydia Lunch: The War Is Never Over, Beth B, 2019
- Slip, Nicole Otero, 2019
- Troublemaker, Olive Nwosu, 2019
- By Way of Canarsie, Emily Packer and Lesley Steele, 2020
- Family Tree, Nicole Amani Magabo Kiggundu, 2020
- Polygraph, Samira Saraya, 2020
- The Rose of Manila, Alex Westfall, 2020
- The Lights Are On, No One’s Home, Faye Ruiz, 2021
- Ste. Anne, Rhayne Vermette, 2021
TRUE STORIES
Monday, December 13
The Hard Stop
George Amponsah’s moving look at the raw human story behind a shocking police killing offers trenchant insight into the racial and cultural realities that shape the lives of young Black men in Britain.
Monday, December 20
Strange Victory
This extraordinary portrait of postwar American fascism explores how servicemen returned home from defeating a racist and genocidal enemy to find a United States plagued by prejudice, Jim Crow, anti-Semitism, anti-Catholicism, and xenophobia.
Monday, December 27
The Beaches of Agnès
Replete with images of wonder and whimsy, Agnès Varda’s enchanting self-portrait, made in her eightieth year, is a playful and poignant record of a life lived fully and passionately in the name of cinema.
More documentaries featured in this month’s programming:
- Joyce at 34, Joyce Chopra and Claudia Weill, 1972
- Daguerréotypes, Agnes Varda, 1975
- Girls at 12, Joyce Chopra, 1975
- Clorae and Albie, Joyce Chopra, 1976
- News from Home, Chantal Akerman, 1977
- Mur Murs, Agnes Varda, 1981
- Jane B. par Agnès V., Agnès Varda, 1988
- Conversations with Intellectuals About Selena, Lourdes Portillo, 1999
- Dark Days, Marc Singer, 2000
- Shooting Women, Alexis Krasilovsky, 2008
- The Oath, Laura Poitras, 2010
- Stories We Tell, Sarah Polley, 2012
- Citizenfour, Laura Poitras, 2014
- Lydia Lunch: The War Is Never Over, Beth B, 2019
SATURDAY MATINEES
Saturday, December 4
A Town Called Panic
Three plastic toys embark on a freewheeling adventure in this hilarious, delightfully wacky stop-motion extravaganza based on the Belgian cult TV series.
Saturday, December 11
The Little Princess
Ringlet-haired dynamo Shirley Temple is at her irresistible best in this spirited Technicolor adaptation of the beloved novel by Frances Hodgson Burnett.
Saturday, December 18
Long Way North
Vivid characters and stunning 2D animation bring to life this thrilling adventure about a fearless girl on an epic Arctic quest.
Saturday, December 25
Scrooge
Albert Finney offers his inimitable characterization of the miserly Ebeneezer Scrooge in this handsomely mounted musical take on Charles Dickens’s holiday classic A Christmas Carol.
SHORT-FILM PROGRAMS
Tuesday, December 7
Dedza Film Presents Who Will Start Another Fire
Dedza Films is a new distribution initiative that aims to champion filmmakers from underrepresented communities around the world, beginning with Who Will Start Another Fire, a collection of nine revelatory shorts by emerging filmmakers from Israel, Nigeria, the Philippines, Uganda, and the United States. From child’s-eye portraits of Nigerian (Family Tree) and Chinese American (Like Flying) girlhood to complex explorations of Black masculinity (Not Black Enough) and gentrification (The Lights Are On, No One’s Home), these eclectic works touch on questions of politics, history, memory, and culture through innovative storytelling and profound personal insight.
- Slip, Nicole Otero, 2019
- Troublemaker, Olive Nwosu, 2019
- By Way of Canarsie, Emily Packer and Lesley Steele, 2020
- Family Tree, Nicole Amani Magabo Kiggundu, 2020
- Like Flying, Peier Tracy Shen, 2020
- Not Black Enough, Jermaine Manigault, 2020
- Polygraph, Samira Saraya, 2020
- The Rose of Manila, Alex Westfall, 2020
- The Lights Are On, No One’s Home, Faye Ruiz, 2021
Tuesday, December 14
Short + Feature: Holiday Affairs
Gasman and Tuesday, After Christmas
’Tis the season for infidelity as a pair of husbands and fathers living double lives discover that duplicity is particularly devastating during the holidays.
Tuesday, December 21
Short + Feature: The Night Before Christmas
A Christmas Dream and Fanny and Alexander
See the magic of Christmas Eve through a child’s eyes in an enchanting stop-motion wonder and a sumptuous late-career masterpiece from Ingmar Bergman.
Tuesday, December 28
Stop-Motion Shorts by Niki Lindroth von Bahr
Forlorn fish express their alienation through song, a pair of pigeons visit a zoo without animals, and a lonely fox has an enigmatic encounter with the new rabbit next door—welcome to the startlingly surreal, delicately bittersweet world of Swedish stop-motion animator Niki Lindroth von Bahr, whose hyper-detailed miniatures are at once uncanny and strikingly lifelike. Though they star a menagerie of anthropomorphic animals, these wondrously strange and captivating existential fables explore modern malaise with a piercing poignancy that is all too human.
- Tord and Tord, 2010
- Bath House, 2014
- The Burden, 2017
- Something to Remember, 2019
DOUBLE FEATURES
Hitchcock Edition!
Friday, December 3
I Married a Sociopath
Marnie and Martha
Alfred Hitchcock and Rainer Werner Fassbinder explore the perverse inner workings of sadomasochistic relationships in a pair of lush, expressionistically stylized psychodramas.
Friday, December 10
Kills for Thrills
Rope and Swoon
The infamous 1924 Leopold and Loeb murder inspires one of Alfred Hitchcock’s most daring experiments and a watershed work of the New Queer Cinema.
Friday, December 17
Homewreckers
Shadow of a Doubt and To Sleep with Anger
Charismatic yet mysteriously menacing figures from the past return to upend the quiet lives of ordinary families in a dark-hearted thriller and a poetic touchstone of the nineties Black-cinema renaissance.
Friday, December 24
Seeing Double
Vertigo and Phoenix
Alfred Hitchcock’s most celebrated masterpiece inspires another mesmerizing investigation of obsessive love and dual identity set amid the ruins of postwar Germany.
Friday, December 31
A Twice-Told Tale
The Man Who Knew Too Much (1934) and The Man Who Knew Too Much (1956)
An ordinary couple’s vacation abroad turns into a parent’s worst nightmare in Alfred Hitchcock’s 1930s British classic and his own underrated Hollywood remake.
Complete list of films premiering on the Criterion Channel this month:
- Angela, Rebecca Miller, 1995
- The Bandit, Alberto Lattuada, 1946
- By Way of Canarsie, Emily Packer and Lesley Steele, 2020
- A Christmas Dream, Karel Zeman, 1945
- Christmas Eve, Edwin L. Marin, 1947
- Downhill Racer, Michael Ritchie, 1969
- Family Plot, Alfred Hitchcock, 1976
- The Fancy, Elisabeth Subrin, 2000
- A Family Submerged, María Alché, 2018
- Family Tree, Nicole Amani Magabo Kiggundu, 2020
- Film About a Woman Who … , Yvonne Rainer, 1974 *
- The French Connection, William Friedkin, 1971
- Frenzy, Alfred Hitchcock, 1972
- Gaslight, George Cukor, 1944
- Gasman, Lynne Ramsay, 1998
- Girl in the Window, Luciano Emmer, 1961
- The Gold Diggers, Sally Potter, 1983
- The Gold of Naples, Vittorio De Sica, 1954
- The Hard Stop, George Amponsah, 2015
- The Headless Woman, Lucrecia Martel, 2008
- High Art, Lisa Cholodenko, 1998 *
- Home, Ursula Meier, 2008 *
- I Dream You Dream of Me, Jennifer Reeder, 2018
- The Incredibly True Adventure of Two Girls in Love, Maria Maggenti, 1995
- The Innocents, Anne Fontaine, 2016
- Karaoke Girl, Visra Vichit-Vadakan, 2013
- Kill the Day, Lynne Ramsay, 2000
- The Lawless, Joseph Losey, 1950
- Lifeboat, Alfred Hitchcock, 1944
- The Lights Are On, No One’s Home, Faye Ruiz, 2021
- Like Flying, Peier Tracy Shen, 2020
- The Little Princess, Walter Lang, 1939
- The London Story, Sally Potter, 1986
- Long Way North, Rémi Chayé, 2015
- Lydia Lunch: The War Is Never Over, Beth B., 2019
- The Magnificent Ambersons, Orson Welles, 1942
- The Maids, Christopher Miles, 1975
- The Man Who Knew Too Much, Alfred Hitchcock, 1956
- Marnie, Alfred Hitchcock, 1964
- The Milk of Sorrow, Claudia Llosa, 2009
- The Mill on the Po, Alberto Lattuada, 1949
- The Miseducation of Cameron Post, Desiree Akhavan, 2018
- The Music Lovers, Ken Russell, 1971
- Nenette and Boni, Claire Denis, 1996
- Not Black Enough, Jermaine Manigault, 2020
- Personal Velocity, Rebecca Miller
- Polygraph, Samira Saraya, 2020
- Ratcatcher, Lynne Ramsay, 1999
- Rear Window, Alfred Hitchcock, 1954
- The Return of the Soldier, Alan Bridges, 1982
- Rope, Alfred Hitchcock, 1948
- The Rose of Manila, Alex Westfall, 2020
- Saboteur, Alfred Hitchcock, 1942
- Scrooge, Ronald Neame, 1970
- Second Coming, Debbie Tucker Green, 2014
- The Second Mother, Anna Muylaert, 2015
- Shadow of a Doubt, Alfred Hitchcock, 1943
- Shooting Women, Alexis Krasilovsky, 2008
- Sister, Ursula Meier, 2012 *
- Slip, Nicole Otero, 2019
- Small Deaths, Lynne Ramsay, 1996
- Social Butterfly, Lauren Wolkstein, 2013
- Something to Remember, Niki Lindroth von Bahr, 2019
- Ste. Anne, Rhayne Vermette, 2021
- Stevie, Robert Enders, 1978
- Stories We Tell, Sarah Polley, 2012 *
- Strange Victory, Leo Hurwitz, 1948
- Sunday Bloody Sunday, John Schlesinger, 1971
- Swallow, Elisabeth Subrin, 1995
- Sweet Ruin, Elisabeth Subrin, 2008
- The Trouble with Harry, Alfred Hitchcock, 1955
- Throw Down, Johnnie To, 2004
- Topaz, Alfred Hitchcock, 1969
- Torn Curtain, Alfred Hitchcock, 1966
- Troublemaker, Olive Nwosu, 2019
- Tuesday, After Christmas, Radu Muntean, 2010 *
- Vertigo, Alfred Hitchcock, 1958
- A Woman, a Part, Elisabeth Subrin, 2016
- The Wonders, Alice Rohrwacher, 2014
*Available in the U.S. only
Joshua Brunsting