Pat Collins (Ireland, 2012). West Coast Premiere! Introduced by Bernie Krause. An Irish sound recordist returns to the landscape of his childhood in search of a pristine sonic setting in this brooding stew of stunning tableaux and documentary-like encounters with the people of the rugged North. (84 mins)

Alfred Hitchcock (U.S., 1941). Joan Fontaine is a shy, sensitive lass who marries a dashing gambler (Cary Grant), but begins to fear that he's a murderer, in Hitchcock's devilish thriller. “A supreme example of Grant's ability to be simultaneously charming and sinister, and of Hitchcock's skill with neat expressionistic touches” (Time Out). (99 mins)

(U.S., 2011–12). Student filmmakers in person. The annual Screenagers Film Festival, now in its fifteenth year, is dedicated to showcasing new works by Bay Area high school students, selected by a team of high school curators. These powerful, beautifully crafted films are products of the imaginative minds of young artists that reside in the Bay Area. (90 mins)

André Sauvage (France, 1928) Imported Print! Introduced by Patrick Ellis. Judith Rosenberg on piano. Part inventory, part cartography, Études sur Paris is a city-symphonic Baedeker of Paris, as interested in the monumental as the derelict. With Boris Kaufman's short, Les Halles centrales. (105 mins)

Charlie Vundla (South Africa, 2011). This stylish updating of the crime drama genre, set in the “jungle” of Johannesburg, tracks an ex-con suckered into one last heist, with inevitable results. “A slow-burn heist movie that resonates with strong performances and classic noir ambience” (Seattle Film Festival). (89 mins)

Taghreed Elsanhouri (Sudan, 2011). The complex history of Sudan, from its establishment in 1956 to its partition in 2011, is detailed through interviews, rare archival footage, and the personal experiences of one mixed-race family. “An eye-opening account of an issue that hasn't received nearly enough international attention”(Rolling Stone). With short Farewell Exile (Lamia Alami, Morocco, 2011). (107 mins)

Guetty Felin (Haiti/France/U.S., 2012). Guetty Felin in person. Broken Stones observes everyday life as it resumes after the Haitian earthquake of 2010, amid the ruins of the once beautiful and grand cathedral, affectionately called Notre Dame de Port-au-Prince. Preceded by Africa Shafted: Under One Roof, a portrait of the residents of Johannesburg's tallest building (Ingrid Martens, South Africa, 2011). (117 mins)

See African Film Festival 2013

Alfred E. Green (U.S., 1933). Restored Print! Lecture by Marilyn Fabe. Stanwyck sleeps her way to the top in this notorious pre-Code melodrama set in Manhattan. (76 mins)

Victor Sjöström (Sweden, 1917) Imported Print! Introduced by Mark Sandberg. Live music by The Town Quartet. Bruce Loeb on piano. Set during the Napoleonic Wars, this adaptation of Ibsen's nationalistic poem is distinguished by stunning land- and seascape photography. With the director's Hollywood epic The Wind, wherein naïve Virginia belle Lillian Gish relocates to windswept Texas. (136 mins)

(Tobenai chinmoku). Kazuo Kuroki (Japan, 1966). Introduced by Roland Domenig. This dazzling blend of documentary realism and poetic abstraction recreates a “butterfly's journey” (embodied by Mariko Kaga) across postwar Japan. “A film of sympathetic irrationality . . . fascinating in its strangeness”(Positif). (100 mins)

(Tenshi no kōkotsu). Koji Wakamatsu (Japan, 1972). Introduced by Go Hirasawa. An extreme-left militant group finds itself consumed by paranoia in Koji Wakamatsu's notorious cocktail of politics, porn, and protest, one of the most infamous films of the Japanese (or any) New Wave. Written by Masao Adachi. (89 mins)

Alfred Hitchcock (U.S., 1942). In Hitchcock's wartime thriller, Robert Cummings is a factory worker framed for espionage, battling time and the law to uncover the real saboteur. The script, cowritten by Dorothy Parker, keeps things moving from coast to coast, and is considered a practice run for North by Northwest. (108 mins)

Werner Schroeter (West Germany, 1981). Schoeter's hymn to the place of art in life, and the wonder of a life of art, filmed during the 1980 Experimental Theater Festival of Nancy, France. “Less straight documentary than a personal, weirdly sweet vision of the human comedy” (J. Hoberman, Village Voice). (90 mins)

(Kanojo to kare). Susumu Hani (Japan, 1963). Susumu Hani in person. Introduced by Roland Domenig. A housewife slowly becomes alienated from the world around her in Hani's elliptical masterpiece, compared on release to the best of Antonioni. Starring Sachiko Hidari and Eiji Okada (Hiroshima, Mon Amour). (111 mins). UPDATE: Mr. Hani regrets that he is unable to visit the Bay Area as planned.

(E o kaku kodomotachi). Susumu Hani (Japan, 1956). Susumu Hani in person. Introduced by Julian Ross. Hani's innovative documentary looks at children who draw, and one boy in particular, who doesn't draw well at all. The film observes the minutiae of a child's daily world, where every moment encompasses a lifetime of emotion. With the companion film Children in a Classroom (1955). (68 mins). UPDATE: Mr. Hani regrets that he is unable to visit the Bay Area as planned.

(Hatsukoi jigokuhen). Susumu Hani (Japan, 1968). Susumu Hani and Kimiko Nukamura in person. Introduced by Miryam Sas. A girl and a boy weave through Tokyo's nightclub/counterculture district in this portrait of a Japan on the crux of worlds old and new. Boasting Hani's documentary film techniques and an experimental, wildly kinky script by underground provocateur Shuji Terayama. (107 mins). UPDATE: Susumu Hani and Kimiko Nukamura regret that they must cancel their Bay Area visit.

Minda Martin (U.S., 2009). Minda Martin in person. Martin's powerful, beautiful essay film traces her family history back to the forced Cherokee relocation of the 1800s and forward to her own nomadic childhood of poverty and homelessness. With two short portraits of families, Family Nightmare (Dustin Guy Defa, U.S., 2011) and Ah, Liberty! (Ben Rivers, U.K., 2008). (92 mins)

Kenji Mizoguchi (Japan, 1936). Lecture by Marilyn Fabe. In this famous melodrama, Mizoguchi strips away the romantic veneer of the geisha business, both in the story and in a stark visual style that capitalizes on visual elements of the Gion district. “A masterpiece” (Tadao Sato). (68 mins)

Werner Schroeter (West Germany, 1983). Schroeter's trip to the notorious Manila International Film Festival (dominated by Imelda Marcos) resulted in this “kaleidescope of a ravaged country.” “A work beyond categorization, more a weave or flow of different beauties that lie therein” (Cinema Scope). (108 mins)

(Den'en ni shisu). Shuji Terayama (Japan, 1974). Introduced by Miryam Sas. Welcome to the color-filtered, cross-dressing, orgiastic, surrealist realms of Pastoral, which reimagines a director's childhood through a screen of pastel colors, group sex, and looming adults. One of the key underground films of the 1970s, from the same planet of Kuchar, Jodorowsky, and early John Waters. (102 mins)

(Shinju ten no Amijima). Masahiro Shinoda (Japan, 1969). Shinoda's “remix” of a classic Japanese bunraku puppet play finds live actors, puppets, and their handlers all part of the action, heightened by a Brechtian divide between “story” and “telling” and a jarring score by Toru Takemitsu. Starring Kichiemon Nakamura and Shima Iwashita. (100 mins)

Ingmar Bergman (Sweden, 1963). Introduced by Linda Haverty Rugg. Two sisters traveling through an unspecified land on the verge of war take refuge in a disused hotel in Bergman's almost incestuous look at illness, desire, and attachment. Here, God has left the building and all that remains is a spiritual hush. (96 mins)

(Gishiki). Nagisa Oshima (Japan, 1971). Oshima's audacious family saga is nothing less than the history of the postwar Japanese state. “Makes contemporary cinema look puny by comparison, so dense and complex its achievement”(TIFF Cinematheque). (122 mins)

Alfred Hitchcock (U.S., 1951). A tennis star (Farley Granger) meets a stranger who offers to kill his unfaithful wife for him, as long as he then kills the stranger's hated father, in Hitchcock's polished adaptation (cowritten by Raymond Chandler) of a Patricia Highsmith novel. “A gripping, palm-sweating piece of suspense” (Variety). (101 mins)

Philip Gröning (Germany, 2005). Introduced by Gaetano Kazuo Maida. German director Gröning spent months among the monks of a monastery in the French Alps, sharing and observing their silence, attuning himself (and us) to the stillness of their devotion. The daily rituals-the prayers and meals, the walks and labors-establish a quiet and reverential rhythm. (164 mins)

Werner Schroeter (Germany, 1969). Archival print! Schroeter's dizzying first feature is a series of vignettes and songs assembled into a nine-part musical/camp format, by turns operatic, balletic, melodramatic, hilarious, and haunting. “This two-and-a-half hour funkfest is some kind of great movie” (J. Hoberman, Village Voice).

See On Location in Silent Cinema

Merian C. Cooper, Ernest Schoedsack (U.S., 1927). Introduced by Linda Williams. A family struggles to farm-and to live-at the edge of the Siam jungle in this pioneering travelogue/documentary/crowd-pleaser. With Buñuel's Surrealist documentary classic, Land Without Bread. (120 mins)

Vittorio De Sica (Italy, 1948). Lecture by Marilyn Fabe. De Sica's masterpiece of a father and son searching the streets of Rome for their stolen bicycle is considered one of the greatest films ever made. “An allegory at once timeless and topical” (Village Voice). (93 mins)

Bu Wancang (Richard Poh) (China, 1931). Imported Print! Introduced by Weihong Bao. Judith Rosenberg on piano. This rarely screened tragicomedy from the Chinese silent era depicts a woman's sacrifice and the price she pays for abandoning an arranged marriage. Starring the legendary Ruan Lingyu. (152 mins)

Reginald Barker (U.S., 1914). Restored 35mm print! Introduced by Scott Simmon. Frederick Hodges on piano. Join us for the West Coast premiere of the Library of Congress's 35mm restoration of this deeply unconventional border-town Western, starring William S. Hart in his first feature and the Grand Canyon in all its majesty. With short Sierra Jim's Reformation, starring Raoul Walsh. (83 mins)

Abram Room (U.S.S.R., 1930) Imported Print! Introduced by Anne Nesbet. Bruce Loeb on piano. The grand and forbidding vistas of Azerbaijan stand in for an unnamed, oil-rich South American country, in which a revolutionary is let out of jail for one day. The Soviet Wild West meets avant-garde design! (84 mins)

Alfred Hitchcock (U.S., 1943). Joseph Cotten is the urbane Uncle Charlie, hiding out in the small-town home of his sister Emma in this blend of satire and mystery. Is Uncle Charlie the Merry Widow Killer hunted by the police, or is he innocent as he claims? (108 mins)

Werner Schroeter (West Germany, 1978). This postwar chronicle of Naples is played out through one family's sufferings, successes, and madness in Schroeter's paean to that city's great beauty, and great ruins. Schroeter's most straightforward (almost) film is opera filtered through neorealism, both hallucinatory and socially profound. (132 mins)

(Nikudan). Kihachi Okamoto (Japan, 1968). A reluctant kamikaze at the tail end of WWII enjoys his last day on earth-or tries to-in this disorienting, savage antiwar satire, reminiscent of Sam Fuller by way of Hunter S. Thompson. From the director of Sword of Doom. (116 mins)

Toshio Matsumoto (Japan, 1971). Experimental filmmaker Toshio Matsumoto (Funeral Parade of Roses) destabilizes the samurai film with this stately, pitch-black tale of a ronin distracted from duty by a scheming courtesan, and his later vengeance. A Borgesian satire in the guise of samurai horror. (134 mins)

Susana de Sousa Dias (Portugal, 2009). Susana de Sousa Dias's remarkable, hypnotic film is composed of photographs taken upon the arrest of political prisoners during the forty-eight years of the Portuguese dictatorial regime. With Sun Xun's animated short, Heroes No Longer (China, 2008). (102 mins)

Carol Reed (U.K., 1949). Lecture by Marilyn Fabe. Joseph Cotten pursues Welles through postwar Vienna in Graham Greene and Carol Reed's cynical masterpiece. “Seeing it on the big screen is like watching it for the first time" (NY Times). (109 mins)

(Ningen jōhatsu). Shohei Imamura (Japan, 1967). What began as a documentary on johatsu, the phenomenon of people going missing in overcrowded Japan, became a brilliant film years ahead of its time in its blurring of fact and fiction, “a coup de cinéma equaled only by Kiarostami's Close-Up”(TIFF Cinematheque). (125 mins)

Rudy Lemcke and Darrin Martin in person. Experimental media typically seeks to undermine the logic between a sound and its source, but this program pursues a different path, where sound and image are unified by the medium. Includes work by Warner Jepson, Robert Russett, Scott Wolniak, Van McElwee, Stephen Vitiello, Darrin Martin, and Rudy Lemcke. (77 mins)