The search for mystery can be all consuming. Not the mystery of genre, but of human nature, of the culture enveloping it, of reality itself. Throughout his fifty-year career, it is this search that has engulfed the imagination of Bernardo Bertolucci. Trained first as a poet, this great Italian film director has issued a body of expansive works, lyrical in their form, rigorous in their reception, profound in their intent-The Grim Reaper, The Spider's Stratagem, The Sheltering Sky. “I am looking for a spectator,” he said, “capable of abandoning himself to the unconscious work developed by the film and who is able to participate in it.” Participation is key: Bertolucci's films are never bluntly dogmatic, nor overly tangible. To enter them is to enter a world of poetic meandering, referential gestures, and sensual longing-Partner, Besieged, The Dreamers. His films are often amorous and some, like Last Tango in Paris, test the bounds of acceptability. Bertolucci has remarked that in Italian “camera” means bedroom, so his visual curiosity tends toward the robust, fleshy image, often heightened through the lens of master cinematographer Vittorio Storaro. But the body does give way to the body politic in films that actively engage with questions of cultural transformation-Before the Revolution, The Conformist, Tragedy of a Ridiculous Man. Most notorious is Bertolucci's epic 1900, touted as the largest anti-capitalist philippic ever financed by a studio. We are proud to unfurl the mystery that is Bernardo Bertolucci-thirteen films with thirteen new prints.