ALL ACCESS OSCAR PASS 2026 Come to the movies for the Oscar season and join us for Oscar nominated picks! FREE popcorn with pass. $60 General / $45 TCA Members Find showtimes at tcataos.org/film If buying online, give us your email receipt on your first showing for your physical punch card!

Ballet Taos will tumble down the rabbit hole to close its 2025–26 season with the fantastical full-length ballet 'The Adventures of Alice', a dazzling reimagining of Lewis Carroll's Alice in Wonderland and Through the Looking Glass.

Comedian Noam Shuster Eliassi's one-woman show tackles the Israeli-Palestinian conflict and the struggle for equality, challenging audiences with uncomfortable truths when her pursuit of coexistence starts sounding absurd.

As the first elected councilwoman of her deeply conservative Iranian village, Sara Shahverdi — a divorced, motorcycle riding, former midwife — stands out. Tenacious and not easily intimidated, Sara is determined to uplift her community and put an end to the empty promises and laziness perpetuated by local councilmen over the years. But it is as an advocate for the girls and women in her village where she encounters the greatest opposition. Among other things, she aims to break long-held patriarchal traditions by training teenage girls to ride motorcycles and stopping child marriages. When accusations arise questioning Sara’s intentions to empower the girls, her identity is put in turmoil.

EPiC features long-lost footage from Presely's legendary Las Vegas residency in the 1970s, woven together with rare 16mm footage from Elvis on Tour, and precious 8mm from the Graceland archive, plus recordings of Elvis telling "his side of the story" rediscovered during Luhrmann's research for his Best Picture Oscar-nominated 2022 film Elvis.

From Academy Award® winning writer/director Chloé Zhao, HAMNET tells the powerful love story that inspired the creation of Shakespeare’s timeless masterpiece, Hamlet.

Broadcast live from The Old Vic in London, Academy Award-winner Sally Field (Steel Magnolias, Brothers & Sisters) and Bill Pullman (The Sinner, Independence Day) star in Arthur Miller’s blistering drama All My Sons. America, 1947. Despite hard choices and even harder knocks, Joe and Kate Keller are a success story. They have built a home, raised two sons and established a thriving business. But nothing lasts forever and their contented lives, already shadowed by the loss of their eldest boy to war, are about to shatter. With the return of a figure from the past, long buried truths are forced to the surface and the price of their American dream is laid bare. Jeremy Herrin (NT Live: This House) directs the cast, which also includes Jenna Coleman (Victoria), and Colin Morgan (Merlin) alongside Bessie Carter, Oliver Johnstone, Kayla Meikle and Sule Rimi.

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

An array of Taos talent, both young and old, perform in this hilarious adaptation of the old beloved tale.

GA $20 TCA Member $18 Youth $10 Family $50 ( Must include at least 1 youth under 18)

GA $20 TCA Member $18 Youth $10 Family $50 ( Must include at least 1 youth under 18)

As CEO of Blue Dasher Farm and Director of Ecdysis Foundation, Lundgren works directly with farmers and ranchers to demonstrate that healthy biological communities—from soil microbes to beneficial insects—are essential to productive, profitable agriculture.

American composer Gabriela Lena Frank makes her Met debut with her first opera, a magical-realist portrait of Mexico’s painterly power couple Frida Kahlo and Diego Rivera, with libretto by Pulitzer Prize–winning playwright Nilo Cruz. Fashioned as a reversal of the Orpheus and Euridice myth, the story depicts Frida, sung by leading mezzo-soprano Isabel Leonard, leaving the underworld on the Day of the Dead and reuniting with Diego, portrayed by baritone Carlos Álvarez. The famously feuding pair briefly relive their tumultuous love, embracing both the passion and the pain before bidding the land of the living a final farewell. Yannick Nézet-Séguin conducts the Met premiere of Frank’s opera, a “confident, richly imagined score” (The New Yorker) that “bursts with color and fresh individuality” (Los Angeles Times). The vibrant new production, taking enthusiastic inspiration from Frida and Diego’s paintings, is directed and choreographed by Deborah Colker, following her remarkable 2024 debut staging of Ainadamar.

ACT I Russia, 19th century. Autumn in the country. On the Larin estate. Madame Larina reflects upon the days before she married, when she was courted by her husband but loved another. She is now a widow with two daughters: Tatiana and Olga. While Tatiana spends her time reading novels, with whose heroines she closely identifies, Olga is being courted by their neighbor, the poet Lenski. He arrives unexpectedly, bringing with him a new visitor, Eugene Onegin, with whom Tatiana falls in love. Tatiana asks her nurse Filippyevna to tell her of her first love and marriage. Tatiana stays up all night writing a passionate letter to Onegin and persuades Filippyevna to have her grandson deliver it in the morning. Tatiana waits for Onegin’s response in the garden. He admits that he was touched by her declaration but explains that he cannot accept it and can only offer her friendship. He advises her to control her emotions, lest another man take advantage of her innocence. ACT II January. The local community has been invited to the Larin estate to celebrate Tatiana’s name day. Onegin has reluctantly agreed to accompany Lenski to what he mistakenly believes will be an intimate family celebration. Annoyed to find himself trapped at an enormous party and bored by the occasion, Onegin takes his revenge on Lenski by flirting and dancing with Olga. Lenski’s jealousy is aroused to such a height that he challenges Onegin to a duel. The party breaks up. Before the duel, Lenski meditates upon his poetry, upon his love for Olga, and upon death. Lenski’s second finds Onegin’s late arrival and his choice of a second insulting. Although both Lenski and Onegin are full of remorse, neither stops the duel. Lenski is killed. ACT III St. Petersburg. Having travelled abroad for several years since the duel, Onegin has returned to the capital. At a ball, Prince Gremin introduces his young wife. Onegin is astonished to recognize her as Tatiana and to realize that he is in love with her. Onegin has sent a letter to Tatiana. He arrives at the Gremin palace and begs her to run away with him. Tatiana admits that she still loves him, but that she has made her decision and will not leave her husband. Onegin is left desperate. —Reprinted courtesy of English National Opera

ACT I Isolde, an Irish princess, is being taken to Cornwall aboard the ship of Tristan, whose uncle, King Marke, plans to marry her. She becomes enraged by a sailor’s song about an Irish girl, and her maid, Brangäne, tries to calm her. Isolde interrogates Tristan, but he replies evasively. His companion Kurwenal loudly ridicules the Irish women and sings a mocking verse about Morold, Isolde’s fiancé, who was killed by Tristan when he came to Cornwall to exact tribute for Ireland. Isolde, barely able to control her anger, tells Brangäne how the wounded Tristan came to her in disguise after his fight with Morold so that he could be healed by Isolde’s knowledge of herbs and magic, which she learned from her mother. Isolde explains to Brangäne that she recognized Tristan, but her determination to take revenge for Morold’s death dissolved when he pleadingly looked her in the eyes. She now bitterly regrets her reluctance to kill him and wishes death for him and herself. Brangäne reminds her that to marry a king is no dishonor and that Tristan is simply performing his duty. Isolde maintains that his behavior shows his lack of love for her, and asks Brangäne to prepare her mother’s death potion. Kurwenal tells the women to prepare to leave the ship, as shouts from the deck announce the sighting of land. Isolde insists that she will not accompany Tristan until he apologizes for his offenses. He appears and greets her with cool courtesy. When she tells him she wants satisfaction for Morold’s death, Tristan offers her his sword, but she will not kill him. Instead, Isolde suggests that she and Tristan make peace with a drink of friendship. He understands that she means to poison them both, but still drinks, and she does the same. Expecting death, they exchange a long look of love, then fall into each other’s arms. Brangäne admits that she has in fact mixed a love potion, as sailors’ voices announce the ship’s arrival in Cornwall. ACT II In the garden of Marke’s castle, Isolde waits impatiently for a rendezvous with Tristan, while distant horns signal the king’s departure on a hunting party. Isolde believes that the party is far off, but Brangäne warns her about spies, particularly Melot, a jealous knight whom she has noticed watching Tristan. Isolde replies that Melot is Tristan’s friend. She sends Brangäne off to stand watch and puts out the warning torch. When Tristan appears, she welcomes him passionately. They praise the darkness that shuts out the light of conventionality and false appearances and agree that they feel secure in the night’s embrace. Brangäne’s distant voice warns that it will be daylight soon, but the lovers are oblivious to any danger and compare the night to death, which will ultimately unite them. Kurwenal rushes in with a warning: the king and his followers have returned, led by Melot, who denounces the lovers. Moved and disturbed, Marke declares that it was Tristan himself who urged him to marry and choose the bride. He does not understand how someone so dear to him could dishonor him in such a way. Tristan cannot answer. He asks Isolde if she will follow him into the realm of death. When she accepts, Melot attacks Tristan, who falls wounded into Kurwenal’s arms. ACT III Back at his castle, the mortally ill Tristan is tended by Kurwenal. A shepherd inquires about his master, and Kurwenal explains that only Isolde, with her magic arts, could save him. The shepherd agrees to play a cheerful tune on his pipe as soon as he sees a ship approaching. Hallucinating, Tristan imagines the realm of night where he will return with Isolde. He thanks Kurwenal for his devotion, then envisions Isolde’s ship approaching, but the shepherd’s mournful tune signals that the sea is still empty. Tristan recalls the melody, which he heard as a child. It reminds him of the duel with Morold, and he wishes Isolde’s medicine had killed him then instead of making him suffer now. The shepherd’s tune finally turns cheerful. Tristan gets up from his sickbed in growing agitation and tears off his bandages, letting his wounds bleed. Isolde rushes in, and he falls, dying, in her arms. When the shepherd announces the arrival of another ship, Kurwenal assumes it carries Marke and Melot, and barricades the gate. Brangäne’s voice is heard from outside, trying to calm Kurwenal, but he will not listen and stabs Melot before he is killed himself by the king’s soldiers. Marke is overwhelmed with grief at the sight of the dead Tristan, while Brangäne explains to Isolde that the king has come to pardon the lovers. Isolde, transfigured, does not hear her, and with a vision of Tristan beckoning her to the world beyond, she sinks dying upon his body.

What the River Knows is a Good Intentions Paving Co. documentary exploring the reemergence of Glen Canyon from the receding waters of Lake Powell reservoir. As the West faces the urgent need to redesign water management, we are offered the chance to restore one of the planet's most stunning landscapes. What the River Knows explores this unique reflection point in a centuries-long history, weaving together past and present to reveal a new way forward for the Colorado River.