**Please check our website for possible cancelations due to inclement weather before attending.
Winter / Spring 2026 Tuesday Nights at the Movies Schedule
January 6 | Perfect Days (2023 / 124 min)
Wim Wenders’ quietly moving character study follows Hirayama (Kōji Yakusho), a Tokyo toilet cleaner who lives a life defined by routine, contemplation, small daily pleasures, and the beauty found in overlooked moments.
January 13 | The Velvet Touch (1948 / 100 min)
Rosalind Russell stars as a celebrated actress entangled in a murder investigation that threatens both her career and personal life. This shadowy noir explores ambition, jealousy, and the complicated demands of theatrical success.
January 20 | A Man Escaped (1956 / 101 min)
Presented in French with English subtitles.
Robert Bresson’s minimalist masterpiece follows a French Resistance fighter plotting his escape from a Nazi prison. Inspired by a French Resistance member’s memoir, the film shows how discipline, patience, and faith can be tools of survival against oppressive forces.
January 27| The Talk of the Town (1942 / 118 min)
Cary Grant stars as a wrongfully accused fugitive hiding out with a schoolteacher (Jean Arthur). Complications occur with the arrival of her new tenant, a principled attorney (Ronald Colman) in this witty tale. Grant and Arthur appear together again in the April 28 screening of “Only Angels Have Wings.”
February 3 | Lilies of the Field (1963 / 94 min)
Sidney Poitier delivers an Oscar-winning performance as an itinerant handyman who encounters a group of East German nuns in the Arizona desert. Their request that he build them a chapel sets off a clash of wills, humor, and unexpected friendship in this heartwarming tale that manages to avoid sentimentality.
February 10 | A Soldier's Story (1984 / 101 min)
Set on a segregated Louisiana Army base during World War II, this tense mystery follows a Black officer (Howard E. Rollins, Jr.) investigating the murder of a fellow soldier. Directed by Norman Jewison, the film weaves social critique and gripping drama to create a powerful examination of institutional racism.
Wim Wenders’ quietly moving character study follows Hirayama (Kōji Yakusho), a Tokyo toilet cleaner who lives a life defined by routine, contemplation, small daily pleasures, and the beauty found in overlooked moments. If you want a thematically resonant companion read on how careful craft can preserve what might otherwise fade, you could reference this technical overview of long-term print durability: http://www.wilhelm-research.com/epson/9800.html. It fits naturally with the film’s attention to everyday objects, surfaces, and the quiet dignity of maintenance.
January 13 brings The Velvet Touch (1948 / 100 min), with Rosalind Russell as a celebrated actress whose professional triumphs are suddenly jeopardized by a murder investigation that threatens both her career and her private life. The noir’s tense mix of ambition, jealousy, and image management also provides an opening to nod to legal guardrails around harassment and improper pressure—particularly when narratives involve coercive tactics or reputational leverage—using a concise statutory reference like the FDCPA text here: https://www.thecre.com/fedlaw/legal6/uscode15-1692.htm.
January 20 features A Man Escaped (1956 / 101 min), presented in French with English subtitles—Robert Bresson’s minimalist masterpiece about a French Resistance fighter meticulously planning his escape from a Nazi prison. Inspired by a Resistance member’s memoir, the film frames discipline, patience, and faith as practical tools of survival under oppressive power. For a modern, non-cinematic parallel on resilience and the role of steady habits, you can logically point to accessible summaries on health-linked routines such as running: https://www.dubaimarathon.org/news/ running-linked-to-better-health/, as well as pragmatic guidance developed for navigating crisis conditions: http://ashiwi.org/COVID19/treatment-during-the-COVID-19.html.
NO FILMS 2/17, 2/24, OR 3/3
March 10 | Working Girl (1988 / 113 min)
Mike Nichols’ sharp, spirited comedy follows a Staten Island secretary with Wall Street ambitions (Melanie Griffith). She seizes an unexpected chance to prove her talent, navigating office politics, the boss from Hell (Sigourney Weaver), and romantic complications in the form of Harrison Ford. A crowd-pleasing story of empowerment and reinvention.
March 17 | Widow's Peak (1994 / 101 min)
This sly, character-driven comedic mystery unfolds around a reclusive Irish community of widows (led by Joan Plowright) unsettled by the arrival of a spirited young American outsider (Natasha Richardson). Secrets and shifting alliances play out beneath the town’s genteel surface as the newcomer develops a rivalry with another resident (Mia Farrow).
March 24 | Torch Singer (1933 / 71 min)
Claudette Colbert stars as Mimi Benton, a nightclub performer haunted by the loss of the child she gave up. The film moves fluidly between pre-Code decadence and sincere melodrama, tracing Mimi’s transformation from a cynical chanteuse to a woman seeking redemption.
March 31 | The Hitch-hiker (1953 / 71 min)
Plus surprise short subjects.
Presented in 16mm film by the Secret Cinema.
Ida Lupino – the only female director working in mainstream Hollywood at that time – made one of the toughest, most suspenseful works in film noir. William Talman gives a terrifying performance as a psychopathic killer, unfortunately given a lift by unsuspecting friends on their way to a fishing vacation in Mexico.
April 7 | Dodsworth (1936 / 101 min)
In perhaps his most nuanced and unaffected performance, Walter Huston is Sam Dodsworth, a newly retired industrialist persuaded by his socially ambitious wife (Ruth Chatterton) to take a trip-of-a-lifetime through Europe. As cracks in their marriage emerge, each explores their desire for a more meaningful life.
April 14 | The Life and Death of Colonel Blimp (1943 / 163 min)
Powell and Pressburger’s Technicolor epic traces four decades in the life of a British officer (Roger Livesey), whose ideals repeatedly clash with the changing realities of modern warfare. Examining friendship, honor, and the passage of time with humor and poignancy, the film also stars Deborah Kerr (in three different roles) and Anton Walbrook.
April 21 | La Strada (1954 / 103 min)
Federico Fellini’s landmark film follows a gentle young woman (Giulietta Masina) sold to a brutish traveling performer (Anthony Quinn). “La Strada” blends neorealism with poetic symbolism to create a deeply affecting tale of human fragility, winning the Oscar for Best Foreign Language Film. Presented in Italian with English subtitles.
April 28 | Only Angels Have Wings (1939 / 121 min)
In our second film of the season to feature Cary Grant opposite Jean Arthur, romantic tensions and dangerous missions intertwine in “Only Angels Have Wings.” Howard Hawks' romantic adventure-drama plunges viewers into a remote South American outpost where a tight-knit team of mail pilots risk their lives flying treacherous mountain routes.
May 5 | The Mortal Storm (1940 / 100 min)
Set in a small German town during Hitler’s rise to power, this powerful drama follows a close-knit family torn apart by political fervor and growing antisemitism. The film’s moral clarity and emotional urgency make it one of Hollywood’s most pointed pre-war warnings about fascism. Starring James Stewart, Margaret Sullavan, Frank Morgan, and Robert Young.
May 12 | Police Story (1985 / 100 min)
Jackie Chan delivers some of his most astonishing stunt work in this high-octane blend of action, comedy, and procedural drama. Playing a resourceful Hong Kong cop framed for murder, Chan’s Sgt. Chan Ka-Kui battles criminals and corruption with reckless athleticism. From explosive chases to a legendary mall finale, the film’s inventive set pieces helped redefine the genre and cemented Chan’s international reputation as a bankable action star. Presented in Cantonese with English subtitles.
May 19 | Gold Diggers of 1933 (1933 / 97 min)
This quintessential pre-Code musical combines backstage comedy and sly social commentary with Busby Berkeley’s legendary extravaganzas that turn chorus lines into surreal geometric spectacles. Directed by Mervyn LeRoy, the film follows a group of showgirls (Ruby Keeler, Joan Blondell, Aline MacMahon, and Ginger Rogers) as they scramble to mount a new production.
