Gregory La Cava (U.S., 1936). In Gregory La Cava's cynical screwball comedy of New York socialites in search of authenticity, "it is the speed, the wit, and the insolence that are so rich” (David Thomson). (95 mins)

Satyajit Ray (India, 1955). 35mm Restored Print! Introduced by Josef Lindner. Ravi Shankar provides the score for Ray's debut film, a tale of a young boy in an impoverished Bengal village. The film won a special prize at Cannes: Best Human Document. (122 mins)

Frederick Wiseman (U.S., 2013). For his latest film, Frederick Wiseman turned his lens on UC Berkeley to explore the current state of public education, higher learning, and the American middle class. "An uninhibited love poem to the idea of the university" (Richard Brody, The New Yorker). (244 mins)

Satyajit Ray (India, 1956). 35mm Restored Print! Introduced by Josef Lindner. The second film in Satyajit Ray's beloved Apu Trilogy follows Apu's family as they travel to the holy city of Benares along the banks of the Ganges. “Graceful, insightful, and moving” (SF Chronicle). “The characterization of Apu lies in the heart of modern India” (SFIFF). (106 mins)

Leo McCarey (U.S., 1933). The brotherhood of Marx was never zanier than in this absurd antiwar story about the possible war between Freedonia and Sylvania, replete with the Palaces of Power, bilious battlefields, and the brazen use of laughing gas. (80 mins)

Satyajit Ray (India, 1958). 35mm Restored Print! Introduced by Josef Lindner. Part three of Satyajit Ray's Apu Trilogy finds Apu as an adult, and in love. "In essence the film is a love story so fresh and spontaneous that one feels Ray created it entirely out of his own spirit, as if it were the world's first love story" (Pauline Kael). (103 mins)

Lecture by Emily Carpenter. Several short avant-garde films demonstrate the creative potential of film as an expressive medium. Plus an introduction film terminology.

Frank Capra (U.S., 1934). “Reporter Clark Gable chases spoiled heiress Claudette Colbert across most of the Eastern Seaboard, pausing long enough between wisecracks to set the definitive tone of thirties screwball comedy. . . . This is Capra at his best” (Chicago Reader). (105 mins)

Vittorio De Sica (Italy, 1948). 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, and cited by Satyajit Ray as an inspiration. “An allegory at once timeless and topical” (Village Voice). (93 mins)

Edward Cline (U.S., 1940). "Respectable people had best avoid this comedy; if they see it, they may catch a spitball in the eye. W. C. Fields snarls out his contempt for abstinence, truth, honest endeavor, and human offspring” (Pauline Kael). (74 mins)

Howard Hawks (U.S., 1940). Newsroom editor Cary Grant tries to win back his top reporter-and ex-wife-Rosalind Russell in “one of the fastest of all movies, from line to line and gag to gag. . . . A tour de force of choreographed action” (Manny Farber). (92 mins)

Satyajit Ray (India, 1958). 35mm Restored Print! A turn-of-the-century aristocrat whose funds and holdings are dwindling continues to spend money on lavish concerts in his music room, in Ray's rueful, Chekhovian masterpiece, “one of the greatest films in the history of Indian cinema” (Kent Jones). (100 mins)

Andrew Dosunmu (U.S., 2012). Jim Jarmusch regular Isaach De Bankolé and Danai Gurira (The Walking Dead) star as a couple with marital problems living in Brooklyn's tight-knit Yoruba Nigerian community. “Ravishing . . . entices us with a world of abundant sensory riches” (Film Comment). (106 mins)

Goutam Ghose (India, 1999). Noted Bengali filmmaker and documentarian Ghose was handpicked by Satyajit Ray's widow to create this moving eulogy and tribute to the great director, which acknowledges his influences and draws inspiration from Ray's original red notebook of sketches, first drafts, and musings. (105 mins)

Jean Renoir (France, 1950). IB Technicolor Print! Based on a novel by the author of Black Narcissus, Renoir's wise, warm Technicolor masterpiece follows several young girls coming of age on the River Ganges. A young Satyajit Ray served as a location scout. “The artist, medium, and location combine, as though effortlessly, to produce an experience of surpassing loveliness” (NY Times). (99 mins)

Jean-Pierre Bekolo (Cameroon/Germany, 2013). The newest work by boundary-pushing Cameroonian filmmaker Bekolo (Quartier Mozart, Les saignantes) uses split screens, true-life interviews, and staged fictions to present a fake documentary in which a president disappears. With Nigerian Ishaya Bako's documentary Fuelling Poverty. (93 mins)

Alfred Hitchcock (U.K., 1926). Digital Restoration! Judith Rosenberg on piano. Lecture by Emily Carpenter. Hitchcock's first foray into the thriller genre, starring Ivor Novello as the eponymous lodger who just may be a serial killer. The director himself called it “the first true Hitchcock movie.” (90 mins)

Preston Sturges (U.S., 1942). The charming Claudette Colbert abandons her failing hubby (Joel McCrea) to seek a fortune, preferably from a wealthy man, and even better from “the world's richest” (Rudy Vallee). This blazing battle-of-the-sexes comedy is from Preston Sturges, “the most spectacular manipulator of sheer humor since Mark Twain” (Manny Farber). (90 mins)

Lonesome Solo, a.k.a. Souleymane Bamba (Ivory Coast, 2012). Cinema vérité hits the ghetto in this noir and hip-hop–fuelled snapshot of the Abidjan streets, which merges the street-level, DIY aesthetics and energy of contemporary Nollywood with the particular realities of the Ivory Coast. (70 mins)

Jean-Luc Godard (France, 1959). Jean Seberg and Jean-Paul Belmondo in the jazzy genre pastiche that launched Godard's career and embodied the breathless bravado of the New Wave. (90 mins)

Jean-Luc Godard (France, 1960). A disillusioned French counter-agent in Geneva becomes embroiled with Algerian separatists, Parisian torturers, and Anna Karina in Godard's second film, banned for three years in France. (88 mins)