A Body to Live In opens with a striking image: a young Fakir Musafar with a leather belt cinched around his waist — an early act of experimentation that sparked his lifelong exploration of expression, resistance, and ritual. A pioneer of the “Modern Primitives” movement, Musafar redefined body modification as a radical form of self-determination. Practices like piercing, branding, corseting, and suspension became powerful expressions of authenticity and defiance, influencing generations of queer BDSM and performance art communities. Directed by longtime friend and Festival favorite Angelo Madsen (North by Current, Frameline45), the film weaves together archival material, audio recordings of Musafar himself, and reflections from figures like Annie Sprinkle, Ron Athey, Midori, and Cléo Dubois. A Body to Live In refuses to flinch, confronting issues such as cultural appropriation and the impact of the AIDS crisis without offering easy resolutions. The result is a raw examination of Musafar’s work — its contradictions, beauty, and enduring relevance. This isn’t a traditional biography. It’s an investigation into how the body can serve as both a canvas for transformation and a powerful declaration of autonomy.

In a blackly satirical near future, a thriving industry sells celebrity illnesses to their obsessed fans. Employee Syd March's attempts to exploit the system backfire when they involve him in a potentially deadly mystery.

ARREBATO’s dimension-shattering blend of heroin, sex, and Super-8 is the final word on cinemania. This towering feat of counterculture was the final feature of cult filmmaker and movie poster designer Iván Zulueta - is a film without genre, and is Pedro Almodóvar’s favorite horror film! Horror movie director José is adrift in a sea of doubt and drugs. As his belated second feature nears completion, his reclusive bubble is popped by two events: a sudden reappearance from an ex-girlfriend and a package from past acquaintance Pedro: a reel of Super-8 film, an audiotape, and a door key. From there, the boundaries of time, space, and sexuality are erased as José is once more sucked into Pedro’s vampiric orbit. Together, they attempt the ultimate hallucinogenic catharsis through a moebius strip of filming and being filmed.

Billy Preston was 5 years old when he backed gospel legend Mahalia Jackson. Over the following six-decade career, Billy contributed his signature sound to the greatest artists of his time, including The Beatles, The Rolling Stones, Barbra Streisand, Sly Stone, Ray Charles, Rufus, Eric Clapton, and others, while establishing himself as a GRAMMY-winning solo artist. Despite his success, Billy struggled to reconcile his deep relationship with the Black church with his sexuality, setting off a lifelong quest to find love and acceptance.

The story of Calamity Jane, her saloon, and her romance with Wild Bill Hickok.

Two cab drivers search San Francisco's Chinatown for the mysterious Chan, who disappeared with their $4000.

In a fantastical future, humans and mermaids share a troubled coexistence. Stephan, an anxious employee at a shipbuilding company, has big ideas to save the sea. But his life explodes into ecstatic chaos when bubbly mermaid princess Chao proposes marriage out of the blue. Between shopping sprees, giant robots, and actual fireworks, the unlikely pair flounder through their new romance and unlock their true feelings. Crafted over 7 years by the acclaimed STUDIO4°C and veteran animator Yasuhiro Aoki, ChaO is an inventive and genre-defying delight bursting with color and character. Equal parts hilarious and heartbreaking, ChaO’s singular narrative is an ode to boundless love.

Director Taghi Amirani, filmmakers Walter Murch, Paul Zaentz, (and, if were lucky) Ahmad Kiarostami IN PERSON! Ten years in the making, COUP 53 tells the story of the 1953 the Anglo-American coup d’état that overthrew Iran’s government of Prime Minister Mohammad Mossadegh and reinstalled the Shah. The CIA/MI6 covert action was called Operation Ajax. It was all about Iran’s oil and who gets to control and benefit from it. BP was at the heart of this story. Shot in seven countries, featuring participants and first-hand witnesses, and unearthing never seen before archive material, COUP 53 is a politically explosive and cinematically innovative documentary that lifts the lid on secrets buried for over sixty-six years.

Adapted from Sunil Gangopadhyay’s celebrated 1968 novel, Days and Nights in the Forest is one of director Satyajit Ray’s greatest achievements, a modern search for connection that conjures the timeless resonance of a folktale. Desperate to flee Calcutta’s rat race, four friends—Ashim (Soumitra Chatterjee), Sanjoy (Subhendu Chatterjee), Hari (Samit Bhanja), and Shekhar (Rabi Ghosh)—drive to Palamu, one of India’s rural “tribal lands,” where they bribe a watchman into letting them stay at a sylvan guesthouse. Despite vowing to get away from it all, the crew soon mixes with the locals, including a woodland family: the soulful yet mischievous Aparna (Sharmila Tagore) takes to the overconfident Ashim, while her widowed sister-in-law Jaya (Kaberi Bose) grows closer to the bookish Sanjoy. At the same time, Hari, fresh off a break-up, woos a Santal girl named Duli (Simi Garewal); and Shekhar, despite his own penchant for gambling, tries to rein in his companions’ boozy hedonism. Filled with some of Ray’s most indelible characterizations and lavish images (shot by longtime cinematographer Soumendu Roy), Days and Nights in the Forest touches on masculine vulnerabilities and Indian class divisions with the graceful complexity of a master at his peak.

Ahmet, a 15-year-old boy from a remote Yuruk village in North Macedonia, finds refuge in music while navigating his father’s expectations, a conservative community, and his first experience with love, a girl already promised to someone else.

Lesbians didn’t always get to see themselves on screen, but between Stonewall, the feminist movement, and the experimental cinema of the 1970s, they built visibility and transformed the social imagination about queerness. Filmmakers Barbara Hammer, Su Friedrich, Rose Troche, Cheryl Dunye, Yoruba Richen, Desiree Akhavan, Vicky Du, Jenni Olson, and film critic B. Ruby Rich, among many others, share moving — and often hilarious — stories from their lives to discuss how they've expressed queer identity through film.

With any and all things crypto being pushed by celebrities, influencers, and politicians alike, actor-turned-author and director Ben McKenzie decides to investigate. Leveraging his celebrity status to gain access to eager prospectors, McKenzie finds himself unraveling the loosely regulated world of cryptocurrency. This skeptical but evenhanded take on the present and future of what we consider money gives a firsthand account of the chaotic financial frontier of our time.

Farewell My Concubine is a 1993 Chinese epic historical drama film, directed by Chen Kaige, starring Leslie Cheung, Gong Li and Zhang Fengyi. Cheng Dieyi (Leslie Cheung) and Duan Xiaolou (Zhang Fengyi) grow up enduring the harsh training of the Peking Opera (Jing-Ju) Academy, where instructors regularly beat the students to instill in them the discipline needed to master the complex physical and vocal techniques of this ancient art. As the two boys mature, they develop complementary talents: Dieyi, with his fine, delicate features, assumes the female roles (Dan-Jue) while Xiaolou plays masculine warlords (Sheng-Jue). Their dramatic identities become real for Dieyi when he falls in love with Xiaolou, who fails to fully reciprocate his affections and marries a courtesan, Juxian (Gong Li), creating a dangerous, jealousy-filled romantic triangle. Hailed as a “cultural achievement” (The New York Times) and widely considered one of the most important motion pictures ever made, FAREWELL MY CONCUBINE is a “gorgeous, intoxicating epic” (Los Angeles Times) that is both “visually spectacular” and “sumptuous in every respect” (Time Out). Spanning 50 years from the early 20th century to the tumultuous Cultural Revolution, Chen Kaige's passionate, exquisitely shot film captures the vast historical scope of a changing country while revealing the intimate and touching details of a unique, tender, heartrending love story. Based on the bestselling novel by Lillian Lee, it was selected as one of the “100 Best Films in Global History” by TIME Magazine, was awarded the Golden Globe for Best Foreign Language Film, and remains the only Chinese-language film to ever win the Palme d’Or. This film is the latest restored uncut 4K version (20 minutes longer than its original Miramax theatrical release). 程蝶衣（张国荣 饰）和段小楼（张丰毅 饰）从小在京剧学校接受严苛的训练长大，师傅们经常以体罚的方式来灌输纪律性，使学生掌握这门古老艺术所需的复杂身段与唱腔技巧。随着两人逐渐成长，他们形成了互补的才华：眉清目秀、气质纤细的蝶衣主要扮演旦角，而小楼则饰演阳刚的武将角色。 对蝶衣而言，舞台上的身份逐渐走入现实，他爱上了小楼；然而小楼并未完全回应这份感情，反而娶了名妓菊仙（巩俐 饰），由此形成了一段充满危险与嫉妒的情感三角关系。而这段复杂的关系，在近代中国的时代洪流之下，必然地逐渐把三人撕扯破碎，并拖至深渊… 《霸王别姬》改编自李碧华同名小说，由陈凯歌执导，张国荣、巩俐、张丰毅主演的电影。本片获得第46届法国戛纳电影节金棕榈奖，成为第一部也是迄今唯一获得此奖项的华语电影。亦被视为有史以来最伟大的华文电影之一。此外，该片还荣获美国金球奖最佳外语片，以及第66届奥斯卡最佳外语片奖提名，并于2005年被美国《时代》周刊评为“百大不朽电影”之一。2006年，《首映》杂志将巩俐饰演的“菊仙”列为“有史以来最伟大表演100位”第89名。 片源为2023年为纪念本片上映30周年，而重新修复的 4K 无删减版本，比早先上院线版多出约 20 分钟。 Award获奖情况 1993 Cannes Film Festival Palme d'Or and FIPRESCI Prize 1993 法国戛纳电影节｜金棕榈奖、费比西奖 1994金球奖｜最佳外语片 1994 Golden Globe Award Best Foreign Language Film 1994英国电影学院奖｜最佳外语片 1994 British Academy Film Awards Best Film not in the English Language 1994洛杉矶影评人协会奖｜最佳外语片 1994 Los Angeles Film Critics Association Best Foreign Language Film 1994奥斯卡金像奖｜最佳外语片，最佳摄影奖 提名 1994 Academy Awards Best Foreign Language Film and Best Cinematography Nomination

Award winning, 2001 documentary about Harry Hay, the co-founder of the modern American LGBT Civil Rights and Consciousness Movement and the Radical Fairies. The movie is being shown in conjunction with the placing of Harry’s and his long time partner, John Burnside’s, ashes in the San Francisco Columbarium on Tuesday, April 7. A discussion with the film’s director, Eric Slade and other comrades of Harry will take place after the film.

The first remake of the paranoid infiltration classic moves the setting for the invasion from a small town to the city of San Fransisco and starts as Matthew Bennell notices that several of his friends are complaining that their close relatives are in some way different. When questioned later they themselves seem changed as they deny everything or make lame excuses. As the invaders increase in number they become more open and Bennell, who has by now witnessed an attempted "replacement" realises that he and his friends must escape or suffer the same fate. But who can he trust to help him and who has already been snatched?

When Orsolya oversees the eviction of a local elderly man in Cluj, Transylvania, the unintended consequences come to shatter her and her understanding of her place in society. Spiraling into an existential crisis, she traverses the city, meeting with various people in her life — her husband, an old friend, her former student, a priest — to consider and reconcile her place in an increasingly maddening modern world in award-winning filmmaker Radu Jude’s latest furious and hysterical moral parable.

When legendary bandit “Pocky” Zhang violently crosses paths with the con man Tang, Tang offers an intriguing proposition: he can help Zhang become the county governor of Goose Town and make more money in a month than a year of train robberies. But neither realizes that Goose Town is already under the iron rule of Master Huang (Hong Kong action legend Chow Yun Fat), a ruthless and wealthy crime lord. So Zhang and Huang begin a hyper-violent and hilarious series of escalating mind games in this masterfully vicious, pitch-black action-comedy, China’s highest-grossing film of all time.

Part of our ongoing series Wild, Weird Wicked: Films from Before the Code! A small-time criminal (Edward G. Robinson, in one of his best-known roles) moves to a big city to seek bigger fortune.

Filmmaker Suzannah Herbert takes a sharp look at the American South’s unreconciled history through a Mississippi town that mixes antebellum tourism with a community deeply divided over its past. With an unflinching lens, the film captures the debates, memories, and tensions that are building toward a reckoning.

No One Cares About Crazy People is a powerful and deeply human documentary that confronts one of the most urgent yet overlooked crises of our time: the reality of living with severe mental illness in America. Director Gail Freedman delivers a film that is both intimate and expansive, weaving together personal experience, expert insight, and systemic critique to create a gripping and emotionally resonant cinematic journey.

Acclaimed Argentinean filmmaker Lucrecia Martel (ZAMA, THE HEADLESS WOMAN) takes a sweeping approach to this tragic true story, triangulating the murder trial of three men, the lives of activist Chocobar and his fellow Chuchagasta people, and the centuries-old, colonialist legacy of land and property theft across Latin America.

In 1936, as the British Empire tightens its grip on Palestine, Yusuf is caught between his village home and his work in Jerusalem. Amidst an anti-colonial revolt, and Jewish refugees fleeing persecution from Europe, all sides converge in a decisive moment for the entire region. Palestine's Official Selection for the 98th Academy Awards.

A timid man is swept off his feet when an enigmatic, impossibly handsome biker takes him on as his submissive.

Powwow People is a vérité-style documentary grounded in the rhythms, relationships, and lived experience of a contemporary Native gathering. Rather than entering as outside observers, the filmmakers organized the powwow itself, inviting dancers, singers, vendors, and community members to participate in the making of this film. Structured around the arc of a single day, the film follows four central figures: Gina Bluebird, who frames the powwow’s shape and guides its setup; Ruben Littlehead, the MC whose presence anchors the present moment; Jamie John, a non-binary dancer imagining the future of these traditions; and Freddie Cozad, a singer and drummer who considers the past. The film culminates in a 30-minute unbroken shot of a Northern Traditional dance special, drawing the viewer into the textures, movement, and collective presence of the powwow. It is both a reflection of a beloved and complicated community and a gesture toward the continuities of Native life.

Kiyoshi Kurosawa’s follow-up to his international breakthrough Cure (1997), SERPENT’S PATH is a dark gangland thriller with philosophical overtones. Obsessed with avenging his young daughter’s murder, yakuza subordinate Miyashita (Teruyuki Kagawa) recruits Nijima (Sho Aikawa), a brilliant yet strangely detached math teacher, to help carry out a scheme to kidnap and torture the man allegedly responsible. But the plan goes awry when their target, Otsuki (Yurei Yanagi), fingers another mobster as the mastermind behind Miyashita’s tragedy. As the two partners ascend the yakuza chain of command in search of the true culprit, Miyashita and Nijima follow the cold, calculating logic of revenge, descending into a moral abyss from which they may never surface. Featuring Kurosawa’s patented long takes and his claustrophobic arrangement of space, SERPENT’S PATH is one of the legendary director’s most chilling investigations into the endless cycle of violence and the evil that lodges in every heart. Kurosawa would go on to remake the story in 2024, but the original remains as shocking and timeless as ever. Playing with CHIME (2024), Kurosawa’s 45-minute featurette about a culinary teacher who becomes consumed with a sense of dread when strange things begin happening to his students.

A man decides to turn his moribund life around by winning back his ex-girlfriend, reconciling his relationship with his mother, and dealing with an entire community that has returned from the dead to eat the living.

When Shaun decides to take the day off and have some fun, he gets a little more action than he bargained for. A mix up with the Farmer, a caravan and a very steep hill lead them all to the Big City and it's up to Shaun and the flock to return everyone safely to the green grass of home.

Showgirls of Pakistan follows mujra dancers Afreen Khan, Uzma Khan, and Reema Jaan as they defy censorship, predatory managers, and social stigma in pursuit of stardom. The documentary recasts the centuries-old mujra tradition, originally performed by appointed dancers in the courts of the Mughal Empire, as a stage for moral contest. Using the dancers’ own social-media videos and intimate vérité alongside archival footage from decades of Pakistani film and television, Showgirls weaves together their personal journeys with the larger story of the country’s performing arts and screen culture. Showgirls of Pakistan unfolds as an arresting and singular portrait of women who perform, endure, and dream in the spotlight.

Presented by Canyon Cinema Canyon at The Roxie returns with a look at the timely activist cinema of Single Spark Film. Emerging from the San Francisco-based social justice film distribution and production company California Newsreel, Single Spark was the film unit of the Revolutionary Communist Party (formerly the Revolutionary Union). This program pairs two indelible expressions of political counter-cinema: On Strike (1969), which documents the 1968-1969 student-led strike at SF State; and We Are the Palestinian People (1973, also known as Revolution Until Victory), which details the Zionist colonization of Palestinian land following World War II and the rise of the Palestinian Liberation Movement; both presented on 16mm prints. Film Descriptions: On Strike (1969, 25 minutes, b&w, sound, 16mm) Teachers and students mobilize themselves and literally fight the police and administration at San Francisco State to set up programs for ethnic studies. Led by the Black Student Union and Third World Liberation Front, the longest student-run strike in US history was instrumental in establishing the nation’s first College of Ethnic Studies. We Are the Palestinian People (1973, 55 minutes, b&w, sound, 16mm ) From the refugee camps they have lived in for over 30 years, the Palestinian people build a movement to regain their homeland from the Zionists. This film chronicles the history of the Palestinians' cause and reveals the symbiotic relationship between the Zionist movement and larger imperialist powers, first the British empire and now US imperialism.

A father, accompanied by his son, goes looking for his missing daughter in North Africa.

Amy Goodman takes on soldiers, politicians, and corporate media in a fearless pursuit of truth. Undeterred by armed soldiers, smooth-talking politicians, and riot police, journalist Amy Goodman has reported some of the most consequential stories of our time. Steal This Story, Please! is a gripping portrait of the trailblazer whose unwavering commitment to truth-telling spans three decades of turbulent history. From the frontlines of global conflicts to the organized chaos of her daily news show Democracy Now!, Goodman broadcasts stories and voices routinely silenced by commercial media. Oscar-nominated filmmakers Carl Deal and Tia Lessin (Trouble the Water, The Janes) take us behind the scenes with the warm, wisecracking granddaughter of an Orthodox rabbi — raised in a tradition of asking hard questions – as she navigates a news landscape reshaped by technology, corporate consolidation, and political assaults on truth itself. Urgent, provocative and unexpectedly funny, Steal This Story, Please! is both a call to action and a celebration of resistance, posing the question: what happens to democracy when the press surrenders to power?

Screening and Conversation with Director Steven Jenkins Musical Performance by Special Guests Spanning decades and musical styles, this far-ranging one-hour program of short films and videos from the Bob Dylan Archive features rare and previously unreleased clips of Dylan on stage and in the studio—all different from the 2024 presentation. Selections include early acoustic versions of “Blowin’ in the Wind” and “Girl from the North Country;” an intense rendition of “Isis” from the Rolling Thunder Revue, with Dylan in face paint; a delicate performance of “Simple Twist of Fate” featuring Scarlet Rivera on violin; The Band backing a swaggering run-through of “Baby Let Me Follow You Down;” a cover of Woody Guthrie’s “Vigilante Man” with Ry Cooder and Van Dyke Parks; a glimpse into the Archive’s film restoration project with never-before-seen footage of “It’s All Over Now, Baby Blue” from 1966; and many more treasures. Bob Dylan Center Director Steven Jenkins will present the films and engage in a post-screening discussion and audience Q&A, followed by a brief performance featuring XXXXX XXXXX. For tickets and complete program information, please visit https://roxie.com/ This program is generously supported by XXXXX XXXXX. The Bob Dylan Center opened in Tulsa, OK in May 2022 as the permanent home of the Bob Dylan Archive. The mission of the Center is to inspire and celebrate fearless creativity by exploring the music and artistry of the Nobel Prize–winning singer-songwriter as a catalyst for personal expression and cultural change.

A bourgeois middle-aged dentist named Veronica (MARIA ONETTO) drives alone on a dirt road, becomes distracted, and runs over something. Immediately she becomes disoriented, unmoored from her identity and reality, like a sleepwalker who’s actually awake. As the week go on, she becomes obsessed with the possibility that she may have killed someone: a young boy whose body is found in a roadside canal. Veronica tries to piece together what happened while her husband systematically erases her tracks. A chilling parable about a woman in shock, Lucrecia Martel’s third feature explores the intricacies of class and the role of women in a male-dominated society.

Martha Beck (Shirley Stoler) is sullen, overweight, and lonely. Desperate for affection, she joins Aunt Carrie’s Friendship Club and strikes up a correspondence with Ray Fernandez (Tony Lo Bianco), a charismatic smooth talker who could be the man of her dreams—or a degenerate con artist. Based on a shocking true story and shot in documentary-style black and white by the confident and inspired Leonard Kastle, in what would be his only foray into filmmaking, The Honeymoon Killers is a stark portrayal of the desperate lengths to which a lonely heart will go to find true love.

Josh (Mark Duplass) wins an overstuffed recliner online and drives from New York to Atlanta to deliver it to his father, inviting his girlfriend Emily (Katie Aselton) and his laid-back, hippie brother Rhett (Rhett Wilkins). Along the way, the road trip becomes a story about relationships, adulthood, and change.

Twentysomething Anna (Alexandra McVicker, October Crow) finally leaves her small, transphobic hometown for good and quickly begins dating goth tattoo artist Gen (Avalon Fast, Castration Movie) after the two discover they share supernatural powers. But before Anna can call up the U-Haul, Gen inadvertently summons a demon through the sick neck tattoo she gives sensitive guitarist Danny (Jordan Dulieu). As Danny — or whatever’s inside of him — begins feeding off their friends, it’s up to Anna and Gen to figure out how to use their powers to save everyone before it’s too late.

Set high in the majestic French Pyrenees, The Shepherd and The Bear explores a conflict provoked by the reintroduction of brown bears in the midst of a traditional shepherding community. The film follows an ageing shepherd who struggles to find a successor as bears prey on his flock, and a teenage boy who becomes obsessed with tracking the bears. Through its breathtaking cinematography and immersive storytelling, The Shepherd and The Bear is a modern folktale about tradition, community and humanity’s relationship with a vanishing natural world.

Photopraphed in sterling, sensuous black-and-white, Francois Ozon's new take on Albert Camus's classic novel of existentialist ennui is a landmark of adaptation, simultaneously faithful to the text and dedicated to discovering fresh perspectives in the margins. Meursault works as a clerk at an office in Algiers during the French colonial occupation. Meursault finds his routine upended by the sudden death of his mother. As Meursault gets swept up in a cycle of escalating reprisals among his neighbors, tensions come to a head with a fateful encounter on the beach.

After Bella and Edward's honeymoon, things take a turn for the worse when Bella realises she is pregnant. The baby grows at an abnormally fast rate and causes many health problems to Bella. The wolf pack see the unborn child as a threat and plan to get rid of it. But the Cullens do everything they can to ensure that both Bella and the unborn child remain safe.

The true story of a Bohemian St. Francis and his remarkable relationship with a flock of wild red-and-green parrots. Mark Bittner, a dharma bum*, former street musician in San Francisco, falls in with the flock as he searches for meaning in his life, unaware that the wild parrots will bring him everything he needs.

What if a death sentence gave you a second chance at life? The story of Joaquín José Martínez, the first Spaniard exonerated from U.S. death row, challenges our beliefs about justice, faith, and forgiveness.

“I am self-employed. I am doing fine. I don’t deal with egos, I am Joe the boss of my own body.” Starring James Caan as a Chicago safecracker who gets yoked by the Mob, Michael Mann’s word-perfect debut feature film inaugurates his cool, seductive catalogue of crime professionals with a code. Against the nighttime gleam of location shooting (by DP Donald Thorin), Caan butts heads with fatally familial gangster (a vicious Robert Prosky). A superb Weld is the waitress, worn out but still waiting, with whom he hopes to cheat time, per Mann’s constant mantra. With Willie Nelson as Caan’s mentor, Dennis Farina (then still a detective) as a crime underling, and great mesmerizing slabs of electronic soundtrack by Tangerine Dream.

TRAINS is a found-footage documentary composed entirely of archival materials, creating a collective portrait of people in 20th-century Europe—capturing their hopes, desires, dramas, and tragedies. A train compartment is a space where people are temporarily removed from their everyday lives. For a few hours or days, they form a fleeting community, their experiences unfolding according to a timetable. A train journey can be beautiful and magical, but also deeply dramatic—sometimes filled with hope for change, and at other times marked by a stark absence of it. Throughout history, similar scenes repeat themselves in railway carriages: soldiers departing for war and returning wounded—or not at all—followed by waves of civilians, evacuees, prisoners of war, and the aftermath of conflict. Eventually, these moments give way once again to ordinary travel, until the cycle repeats. TRAINS is an artistic exploration that expands the language of cinema while rebuilding the emotional connection between the viewer and archival reality.

Tunnel Vision: An Unauthorized BART Ride is a documentary film by local timelapse photographer Vincent Woo. Embark on a journey with a camera secretly attached to a BART train and ride through the arteries of the Bay Area. A hidden world is revealed through intersecting passageways, flashes of graffiti, and sections of track only witnessed by BART operators. Join us to learn about the magic that makes the everyday commutes of millions of people possible. Experience the joy of the ride, the rhythm of the tracks, and the Bay Area as you've never seen it before. Tickets are three dollars, about the price of a typical BART fare, and viewers are encouraged to take public transit to the Roxie, which sits conveniently near 16th St. BART.

The film focuses on a young prosecutor who sets out to challenge a system during Stalin’s Great Terror in 1937 after discovering a letter from a prisoner that is a desperate plea for help.

Under the Volcano follows the final day in the life of self-destructive British consul Geoffrey Firmin (Albert Finney, in an Oscar-nominated tour de force) on the eve of World War II. Withering from alcoholism, Firmin stumbles through a small Mexican village amidst the Day of the Dead fiesta, attempting to reconnect with his estranged wife (Jacqueline Bisset) but only further alienating himself. John Huston's ambitious tackling of Malcolm Lowry's towering “unadaptable” novel gave the incomparable Finney one of his grandest roles and was the legendary The Treasure of the Sierra Madre director's triumphant return to filmmaking in Mexico.

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