Lana Gogoberidze (USSR, 1984). Imported Print! Lana Gogoberidze in person. The history of Georgia in the twentieth century is reimagined through the life and times of woman in Lana Gogoberidz's moving drama, which premiered at Cannes in 1984. (105 mins)

Jean-Luc Godard (France, 1988–98). Godard mourns the death of cinema and chronicles its vitality in these elliptical, epigrammatic montage essays. “Perhaps the greatest capstone of (Godard's) career . . . sure to be one of his most enduring legacies” (David Sterritt). Continues on Sunday / 2.1.15. (148 mins)

Frederick Wiseman (US, 1967). Introduced by Linda Williams. Wiseman's stark but compassionate look at the horrific conditions of a state-run institution for the criminally insane, one of the first-ever looks at mental illness treatment in the US. “More immediate than fiction because these people are real; more savage than satire” (Roger Ebert). (87 mins)

Eric Baudelaire (France/Japan/Lebanon, 2011). Introduced by Apsara DiQuinzio. Eric Baudelaire and Joseph del Pesco in conversation. Revolution, exile, landscapes, and memory: the parallel tales of notorious Japanese New Wave filmmaker Masao Adachi, a scriptwriter for Oshima and radical leftist who joined the extreme Japanese Red Army in Beirut, and May Shigenobu, the daughter of the JRA's founder. With short, The Makes, an adaptation of an unmade Antonioni film. (92 mins)

Eric Baudelaire (France/Lebanon/Japan, 2013). Introduced by Joseph del Pesco. Eric Baudelaire and Apsara DiQuinzio in conversation. Masao Adachi narrates Baudelaire's fragmented tale of war-torn Beirut, built around the travails of two lovers and former resistance fighters. (101 mins)

Jean-Luc Godard (Switzerland/France, 1996). New Restoration! The specters of the Bosnian Wars haunt (and harm) Godard's European protagonists in his Pirandellian, pointedly obtuse look at the power and powerlessness of art and intellect to combat the horrors of war. (85 mins)

Billy Wilder (US, 1961). American businessman Jimmy Cagney has the cure for Occupied Berlin's ills (Coca Cola!) in Wilder's manic Cold War slapstick comedy, filmed in Berlin as the Wall went up. “Celebrates as it satirizes American cultural imperialism” (J. Hoberman). (108 mins)

Eric Baudelaire (Abkhazia, 2014). Off-site screening at Kadist Art Foundation, San Francisco. Admission Free. Shot in Abkhazia, where Baudelaire has been traveling intermittently since 2000, Letters to Max explores the fraught existence of a region caught between the polarizing, post-Soviet narratives of East and West. The related installation, the Anembassy, will be open prior to the screening, from 1 to 3 p.m. Screening followed by a public program at 5 p.m. (103 mins)

Billy Wilder (US, 1943). Archival Print! Franchot Tone, Anne Baxter, Akim Tamiroff, and a preening Erich Von Stroheim (as General Rommel!) star in Wilder's taut, fast-moving war film, set in the deserts of the North African front. “A crispy spy thriller” (Dave Kehr). (96 mins)

Kote Mikaberidze (USSR, 1929). Gogol meets Chaplin in this riotous, scathingly antibureaucratic satire, one of the eccentric high points of Soviet silent cinema. Stop-motion bits of puppetry and animation, as well as expressionist decor and camera angles, make My Grandmother seem like a blast from the future, not the past. (65 mins)

Jean-Luc Godard, Anne-Marie Miéville (France, 1978). A series of twelve television programs, this now legendary work summons up a funny, frightening image of contemporary France through interviews with two children. Like Roland Barthes or Howard Zinn taking over a kids program, this quizzical delight combines parables and politics, metaphysics and metaphors, childhood wonders and adult disasters. Continues on Tuesday / 2.10.15. (180 mins)

Billy Wilder (US, 1964). Dean Martin stars as “Dino,” a lascivious lounge singer adrift on a sea of booze who falls for the “wife” of a fellow songwriter. Kim Novak costars in this deliriously vulgar sex comedy, played as embittered film noir. (124 mins)

Jean-Luc Godard, Anne-Marie Miéville (France, 1978). A series of twelve television programs, this now legendary work summons up a funny, frightening image of contemporary France through interviews with two children. Like Roland Barthes or Howard Zinn taking over a kids program, this quizzical delight combines parables and politics, metaphysics and metaphors, childhood wonders and adult disasters. Continues from Sunday / 2.8.15.

Off-site screening at Kadist Art Foundation, San Francisco. Admission free. The related installation, the Anembassy, will be open prior to the screening, from 3 to 5 p.m. Screening followed by a public program at 6 p.m.

Sarah Maldoror (Angola/Congo, 1972). One of the first feature films made by a woman in Africa is an urgent call for political change. The events leading up to a 1961 prison rebellion in Angola forms the plot. “Maldoror is both presenting history and issuing a call to arms” (Village Voice). (102 mins)

Sarah Maldoror attended film school in Moscow with Ousmane Sembène and worked on The Battle of Algiers before becoming one of African cinema's first women directors, and one of its most passionate voices. Shorts include Monangambée (1968), Carnival in Guinea-Bissau (1971), and Mathieu Kleyebe Abonnenc's recent excavation of Maldoror's lost film Guns for Banta. (57 mins)

Jean-Luc Godard (Switzerland/France, 2004). Godard's profound film/essay/provocation on art, war, and society divides itself into three acts à la Dante to investigate how to live in-and respond to-a time of constant conflict, whether in the Balkans, Palestine, or indeed the rest of the world. “Beautiful and elegant” (NY Times). (80 mins)

Eldar Shengelaia, Tamaz Meliava (USSR, 1963). Imported Print! Back by Popular Demand! Shephards battle the elements and manmade temptations in this strikingly shot Georgian work, an entry into the 1964 Cannes Film Festival. (97 mins)

Off-site screening at Kadist Art Foundation, San Francisco. Admission free. The related installation, the Anembassy, will be open prior to the screening, from 1 to 3 p.m. Screening followed by a public program at 5 p.m.

Ernst Lubitsch (US, 1939). This comedy develops from cynicism into about as warm a Cold War film as ever there was, as severe Soviet commissar Greta Garbo has her head turned by dashing capitalist Melvyn Douglas. The ads proclaimed, “Garbo laughs!” And so will you. (110 mins)

Billy Wilder (US, 1959). Marilyn Monroe, Tony Curtis, and Jack Lemmon star in Wilder's outrageous cross-dressing comedy, selected by the American Film Institute as the funniest movie ever made. (120 mins)

Otar Iosseliani (France, 1994). Otar Iosseliani's fascinating four-hour documentary presents the history of this former Soviet republic through interwoven images of landscapes, artwork, the civil war, and clips from other Georgian films. (240 mins)

Billy Wilder (US, 1960). Jack Lemmon, Fred MacMurray, and Shirley MacLaine in a riotously acidic tale of sex and corporate success. Academy Awards for Best Picture, Best Director, Best Original Screenplay, Best Editing, Best Art Direction. “An American classic” (NY Times).

Elodie Lefebvre (Senegal, 2013). In 2007 artists, choreographers, dancers, and musicians from across Africa and its diaspora gathered in a remote Senegalese village for communion, connection, and inspiration. This documentary captures their passion and commitment. With Alla Kovgan and David Hinton's short, Nora, featuring the choreographer Nora Chipaumire. (86 mins)

Off-site screening at Kadist Art Foundation, San Francisco. Admission free. The related installation, the Anembassy, will be open prior to the screening, from 3 to 5 p.m. Screening followed by a public program at 6 p.m.

Harun Farocki (Germany, 1983-2012). Introduced by Jeffrey Skoller. A tribute to radical theorist and filmmaker Harun Farocki (1944–2014), worldwide provocateur who taught at UC Berkeley in the 1990s. Films examine a Playboy shoot in An Image (1983), the Corcoran Maximum Security Prison in I Thought I Was Seeing Convicts (2000), and office design in A New Product (2012). (87 mins)

Mati Diop (France, 2009–12). Mati Diop and Genevieve Yue in conversation. In these shorts from filmmaker Mati Diop, fictional and quasi-documentary characters seek a different life. Program includes Atlantiques (2009), in which a young Senegalese man recalls an attempt to immigrate in a pirogue; and Snow Canon (2011), freely adapted from Stendahl. In Big in Vietnam (2012), a director loses her star. (76 mins)

Mati Diop (France/Senegal, 2013). (Mille soleils). Mati Diop and Genevieve Yue in conversation. Fusing documentary and fantasy, Mati Diop's first feature looks back at her uncle Djibril Diop Mambéty's Touki Bouki. Its main actor, Magaye Niang, reconstructs his life. "Nothing is true and nothing is false in my film,” Diop states. (45 mins)

Off-site screening at Kadist Art Foundation, San Francisco. Admission free. The related installation, the Anembassy, will be open prior to the screening, from 1 to 3 p.m. Screening followed by a public program at 5 p.m.

Merab Kokochashvili (USSR, 1968). Imported Print! The modern world comes to one individualistic worker's forsaken section of the Soviet empire in Merab Kokochashvili's neorealist village drama, one of the most singularly pessimistic works of sixties Soviet film. A true rarity. (80 mins)

Claire Denis (France, 2008). (35 rhums). Mati Diop in person. Claire Denis magically limns the story of a father and his daughter (Mati Diop) as they face the inevitable: her independence. “Quiet and lovely . . . (shows) how the melancholy strains of ordinary existence are also its sweetest music” (NY Times). (100 mins)

Harun Farocki (Germany, 1988). (Bilder der Welt und Inschrift des Krieges). An impressive meditation on aerial photography, surveillance, and military research. “Here documentary becomes a kind of fiction. Reality unfolds like a detective story” (Mark Nash, The Independent). (75 mins)

Hollis Frampton (US, 1971–72). New 16mm Prints! Introduced by Michael Zryd. The seven films comprising Hollis Frampton's great serial designate several arcs: the history of visual media, the parameters of sound and film, and what Frampton describes as “oblique autobiography.” (202 mins)

Free admission. This combined lecture and screening-using the AMC series Mad Men as a point of departure-surveys recent serial television's creation of a spoiler-sensitive culture and explains what is at stake. (100 mins)

J.P. McGowan (US, 1928). Judith Rosenberg on piano. Introduced by Paolo Cherchi Usai. Restored by the George Eastman House in 2001, this 1928 serial was considered a “last hurrah” for the silent-era serial, and brought together some of the biggest names of the era for a pulpy tale of intrigue, danger, and thrills! (180 mins)

Tengiz Abuladze (USSR, 1984/1987). Imported 35mm Print! Back by Popular Demand! One of the first Russian films to deal with the terrors of the Stalin era, Repentance combines symbolism and surrealism for this look at a paranoid dictator. “Mordantly funny . . . as artful as it is sobering” (NY Times). (153 mins)

Billy Wilder (US/UK, 1970). Sherlock Holmes navigates between twenty-four canaries, eight Trappist monks, six midgets, his Machiavellian brother Mycroft, and the queen of all Victorian heroines, Victoria herself, in Wilder's update of the mystery man. “The best Holmes movie ever made” (Kim Newman, Empire Magazine). (125 mins)