(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)