Hayao Miyazaki (Japan, 1989). (Majo no takkyubin). English-language version. Ages 5 and up. The thirteen-year-old witch Kiki leaves home and discovers a soaring independence as she masters her mother's broom, even as she grapples with the same insecurities that trouble all adolescents. (105 mins)

Claire Denis (France, 1996). “A sibling drama of unsentimental urban grit and swooning lyricism, Nenette and Boni meditates on the myriad permutations of love and sensuality . . . Denis's elliptical narrative style has seldom been this graceful” (Slant). (103 mins)

Sam Pollard discusses his four decades as an editor using clips from both narrative and documentary films and afterwards introduces a screening of Half Past Autumn Craig Rice (U.S., 2000), a portrait of the pioneering African American photographer and filmmaker Gordon Parks. (c. 180 mins)

Claire Denis (France, 2008). (35 rhums). New print! Denis magically limns the story of a father (Alex Descas) and his daughter 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)

Juraj Herz (Czechoslovakia, 1968). (Spalovac mrtvol). This eerie political horror-thriller recalls the German Expressionist works of Murnau and Lang as it follows a conscientious Prague cremator whose taste for the job dovetails with his new bosses: the invading Nazi army. One of the greatest, darkest films of the Czech New Wave. (100 mins)

Pál Zolnay (Hungary, 1974). (Fotográfia). Two photographers travel Hungary's back roads in this striking work about truth and photographic illusion. “Provokes serious thought about the nature of self-delusion, while never forgetting that people are still the most extraordinarily entertaining subject available to any filmmaker” (Variety). (80 mins)

Spike Lee (U.S., 1995). Sam Pollard in person. Mekhi Phifer delivered a career-launching debut in Spike Lee's vigorous adaptation of an iconic Richard Price novel, set amid the hardscrabble world of the Brooklyn projects. Sam Pollard's expressionist, hard-cutting editing plays a key role in making this the “hood movie to end all hood movies.” (129 mins)