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.
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.
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.
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.
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.
Described by Martin Scorsese as “unlike anything in cinema history,” Sergei Parajanov's masterpiece about 18th-century poet Sayat Nova screens 7/6 and 7/26.
Filmed in war-torn, blockaded Armenia and edited by candlelight, the film is a wordless montage vividly expressing Minas and Vartanov’s friendship while Parajanov was imprisoned by the Soviets.
Inspired by an ancient folk tale, this film is brought to life through Parajanov’s honed idiosyncratic style of opulent costuming, striking tableaux, and unforgettable mise-en-scène.
Dedicated to Andrei Tarkovsky, Parajanov’s hypnotic and wondrous Ashik Kerib is his last completed film.
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.
The first film from the Hughes Brothers was a sensation at the 1993 Cannes Film Festival and remains an uncompromising and revelatory touchstone of 1990s American independent cinema.
