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Behind the Screen - Tut's

GENERAL ADMISSION

You can buy admission tickets online. Pick a date and time to visit the Museum. Timed-entry slots are released generally one-month prior. All sales are final and payments cannot be refunded.

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Two women smile take a polaroid of themselves, both wearing makeup, the one on the left in sunglasses and kerchief.
Thelma & Louise

Thelma & Louise

Thelma & Louise has become a catchphrase unto itself, yet the film remains as radical, full-throated, and unusually bold as ever, right through to its daring final moments. Screening 6/29 and 7/5.

Two teenagers, one with short hair and medium brown skin and one with long hair and pale skin and red long hair, sit on a couch with a purple TV glow cast on them and a green light background.
I Saw the TV Glow

I Saw the TV Glow

Jane Schoenbrun’s follow-up to the visionary We’re All Going to the World’s Fair ups the ante on suburban angst, creating an eerily beautiful metaphorical evocation of the trans experience and the ways in which popular culture and media both comfort and betray us. Screening 6/21–6/30.

Two women, one traditionally feminine in a black dress and lipstick and the other more butch in a gray tank top sit next to each other in a dark room
Bound

Bound

Three years before The Matrix transformed the aesthetic of action cinema forever, the Wachowskis burst onto the scene with this gripping, intensely physical neonoir.

A young man of medium brown skin wearing an athletic tank top with the word CHARGERS on it sits in a locker room and looks pensively.
Hoop Dreams

Hoop Dreams

Called “the great American documentary” by Roger Ebert, and routinely listed among the all-time best films, Hoop Dreams is an intimate epic that follows two talented young men over six life-shaping years.

A colorful image of three teenage girls holding 1990s-style cellular phones; the blonde in the middle looks at camera with a clueless expression. One girl on either side of her talks on her own phone.
Clueless

Clueless

The sleeper smash of summer 1995, set in a fashion-forward Beverly Hills high school, transcended its satirical take on SoCal privilege to become an iconic, ironic lexicon for nineties teen living.

Two teenagers, one with short hair and medium brown skin and one with long hair and pale skin and red long hair, sit on a couch with a purple TV glow cast on them and a green light background.
I Saw the TV Glow

I Saw the TV Glow

Jane Schoenbrun’s follow-up to the visionary We’re All Going to the World’s Fair ups the ante on suburban angst, creating an eerily beautiful metaphorical evocation of the trans experience and the ways in which popular culture and media both comfort and betray us. Screening 6/21–6/30.

Two women, one traditionally feminine in a black dress and lipstick and the other more butch in a gray tank top sit next to each other in a dark room
Bound

Bound

Three years before The Matrix transformed the aesthetic of action cinema forever, the Wachowskis burst onto the scene with this gripping, intensely physical neonoir.

Two women smile take a polaroid of themselves, both wearing makeup, the one on the left in sunglasses and kerchief.
Thelma & Louise

Thelma & Louise

Thelma & Louise has become a catchphrase unto itself, yet the film remains as radical, full-throated, and unusually bold as ever, right through to its daring final moments. Screening 6/29 and 7/5.

A brown-skinned woman in dreadlocks kisses the forehead of a light-skinned man with a bloody forehead as they crouch against a white wall
Strange Days

Strange Days

Kathryn Bigelow’s grandest cinematic vision is an anxiety-filled drama of near-apocalypse set in Los Angeles at the turn of the 21st century.

Two blindfolded people stand in wooden stocks around their necks

Shadows of Forgotten Ancestors

Inspired by Tarkovsky, Kalatozov, and Urusevsky, as well as Ukrainian Hutsul folk culture, this treasured cornerstone of independent Ukrainian cinema marked a shift in the development of Ukrainian culture in the second half of the 20th century.