Although filmed at the same time as the previous year’s The Three Musketeers, Lester’s sequel is a decidedly darker and more risqué conclusion to the classic tale. Reed as Athos and Dunaway as Milady de Winter step into the spotlight alongside another batch of brilliantly staged and photographed sword fights. As was the case with its companion movie, The Four Musketeers boasts a crackerjack screenplay by novelist George McDonald Fraser, vivid cinematography by David Watkin, and some of the most breathtaking costumes, production design, and stunt work ever committed to celluloid. A new 4K restoration will be screened. (BR)

Chaney stars as circus conman Alonzo the Armless, who throws knives with his feet. Alonzo, who hides the fact that he has full use of all his extremities, falls hard for Estrelita (Joan Crawford), a big top colleague who fears the arms of all men and is unaware of Alonzo’s secret. Perfectly lurid and perversely melodramatic, The Unknown is one of the most memorable and personal Hollywood features from the end of the silent era. This new restoration from George Eastman Museum contains over 10 minutes of footage not seen for decades, and practically brings The Unknown back to its original running time. George Eastman Museum’s Preservation Manager, Anthony L’Abbate, will introduce this screening and discuss the restoration. Live piano by David Drazin!

In a rural Wisconsin town, the motel, gas station, and convenience store run by Jane (DeVita) is the location that links a multi-generational group of men and women all looking to make emotional connections in their lives. Touching and tenderly performed, Baraboo is filled with the sort of precise details and affection for Midwesterners that infused The Straight Story, which Sweeney co-wrote, produced, and edited. Mary Sweeney will join us in person to discuss her feature directorial debut after the screening.

Sirk, cinema’s poet laureate of upper middle-class American angst in the 1950s, examines the unhappy marriage of toy manufacturer Clifford Groves (MacMurray) and his wife, Marion (Bennett). When Groves accidentally meets up with old flame Norma (Stanwyck), he’s provided with the temporary illusion that happiness is still possible. A beautiful melodrama that belongs in a class with Sirk’s All that Heaven Allows and Imitation of Life, it marked the fourth and final pairing of Double Indemnity stars MacMurray and Stanwyck, and was the second screen version of Ursula Parrott’s novel. This screening will be introduced by Marsha Gordon, author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott.

De Niro, in a tour-de-force, is Travis Bickle – a super-alienated NYC cabbie, Vietnam Vet and dutiful diary writer. Travis’ psychotic fantasies ultimately lead him to violence as he attempts to “save” child prostitute Iris (Foster). Scorsese’s moody visuals are enhanced by the seductive saxophone in Bernard Herrmann’s final score. A 4K restoration from Sony Pictures will be screened.

Low-level hoodlum Harry Plotnick (Priest) is released from a short stint in prison to find that his numbers-running business is on the verge of being taken over, and he contemplates exchanging his lifestyle for middle class normality. Completed in 1970 but never released, writer-director Roemer (Nothing But a Man, Vengeance is Mine) was encouraged by family to submit The Plot Against Harry to the Toronto and The New York Film Festivals, leading to a commercial release for this observant and witty character study twenty years later! It was acclaimed by critics from coast to coast, including Roger Ebert, who wrote that “this time capsule from 1970 feels, in 1990, like a jolt of fresh air.” A newly struck 35mm print, courtesy of The Film Desk, will be screened.

Shortly following their impulsive wedding, the naive, young Nazar is pressured by his family into divorcing his new wife, Reyhane, after rumors circulate of her mother's possible sex-work. Still deeply in love, he insists on paying back Reyhane's marriage dowry despite his insolvency. Nazar is soon on the run from creditors and finds himself hiding out in the desert where he insists on working with a taciturn snake hunter until he earns enough money to return to the city and make good on his mistakes. "Engrossing and eye-catching" (Variety), Farhadi's debut feature ultimately reveals itself to be a tale of love, sacrifice, and redemption. (FM)

After spending two years in juvenile detention for killing his girlfriend as a teenager, the troubled, young Akbar is transferred to an adult facility shortly after turning 18. No longer a minor, his death sentence will soon be legally carried out. Meanwhile Akbar's sister Firoozeh and his pal Ala set out to convince the victim's bereaved father to forgive Akbar, which could potentially reduce his sentence from death to life in prison. Navigating the complexities of Iran's judicial system together, the two form a close bond in their desperate attempts to seek clemency before it is too late. Farhadi’s second feature is a “well-acted [and] compelling human drama," (The Hollywood Reporter). (FM)