Sorry, Baby at Real Art Ways

“This is the kind of film that sneaks up on you, funny when least expected and affecting without being cloying. And it officially announces the arrival of Victor as a performer and filmmaker to keep on your radar.” NPR

“Tough, tender and observational, “Sorry, Baby” suggests that Victor’s promising career has been suitably launched. The best, with luck, is yet to come.” – Washington Post

“This is a diamond of a screenplay. Based on just those merits alone, “Sorry, Baby” is a tremendous artistic triumph on the healing power of friendship and queer relationships.” – San Jose Mercury News

97% on Rotten Tomatoes

Something bad happened to Agnes. But life goes on… for everyone around her, at least. When a beloved friend on the brink of a major milestone visits, Agnes starts to realize just how stuck she’s been, and begins to work through how to move forward.

American political economist, professor, author, and social media sensation Robert Reich worked under presidents Gerald Ford and Jimmy Carter. He served as Secretary of Labor in President Bill Clinton’s cabinet, and as a member of President Barack Obama’s economic transition advisory board. Reich is known for his work on economic inequality and as a champion of public education and American democracy. He is one of America’s most prominent public intellectuals.

The Last Class is a nuanced and deeply personal portrait of Reich as he reflects on a period of immense transformation, personally and globally. It is also a love letter to education. The former Secretary of Labor might be famous for his public service, best-selling books, and viral social media posts, but he always considered teaching his true calling.

Now, after over 40 years and an extraordinary 40,000 students, Reich is preparing for his last class.

Throughout the film, Reich confronts the impending finality, and his aging with increasing candor, introspection, and, ultimately, emotion. He displays a rawness of feeling he has never shared publicly before. Drawing on his lifetime in politics, he uses his class, “Wealth and Poverty,” to offer a deeper look at why inequalities of income and wealth have widened significantly since the late 1970s, and why this poses dangerous risks to our society.

One thousand students fill the biggest lecture hall on the UC Berkeley campus, the last class to receive Reich’s wisdom and exhortations not to accept that the world has to stay the way it is. His belief in the next generation’s ability to take on the fight is inspiring.

“Every genre Peele invokes is a flytrap for social meanings, and you can’t watch this cowboys-and-aliens monster movie without entertaining some deep thoughts about race, ecology, labor, and the toxic, enchanting power of modern popular culture.” – New York Times

“A wild but self-aware mashup of sci-fi and westerns…” – The New Yorker

“It’s extremely sophisticated, this film. And it’s very mysterious in its structure.” – Monocle

83% on Rotten Tomatoes

A man and his sister discover something sinister in the skies above their California horse ranch, while the owner of a nearby theme park tries to profit from the mysterious, otherworldly phenomenon.

“Fearsomely entertaining, consistently thought-provoking and occasionally bloody scary.” – Observer (UK)

“A sharp, often funny meditation on the terrifying power of human connection.” – The Atlantic

Even as the central characters are enveloped by doom, Peele provides a haunting image of a black family that is both unsuspecting and frighteningly unfuckwithable.” – Harper’s Bazaar

93% on Rotten Tomatoes

Accompanied by her husband, son, and daughter, Adelaide Wilson returns to the beachfront home where she grew up as a child. Haunted by a traumatic experience from the past, Adelaide grows increasingly concerned that something bad is going to happen. Her worst fears soon become a reality when four masked strangers descend upon the house, forcing the Wilsons into a fight for survival. When the masks come off, the family is horrified to learn that each attacker takes the appearance of one of them.

“Peele seduces, subverts and manipulates audience expectations – as the masters Alfred Hitchcock, John Carpenter, and Stanley Kubrick did before him.” – IndieWire

“It’s a game-changer.” – Sydney Morning Herald

“By focusing the storyline on a particular form of racism — the kind that’s often disguised as peculiar envy — Get Out reveals something more insidious.” – Salon.com

“Beneath the beatific smile of 21st-century liberalism, Get Out finds the still grinning ghoulish skull of age-old servitude and exploitation unveiled during a rollercoaster ride into a very American nightmare.” – Observer (UK)

“Peele succeeds where sometimes even more experienced filmmakers fail: He’s made an agile entertainment whose social and cultural observations are woven so tightly into the fabric that you’re laughing even as you’re thinking, and vice-versa.” – TIME Magazine

98% on Rotten Tomatoes

Now that Chris and his girlfriend, Rose, have reached the meet-the-parents milestone of dating, she invites him for a weekend getaway with Missy and Dean. At first, Chris reads the family’s overly accommodating behavior as nervous attempts to deal with their daughter’s interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries leads him to a truth that he never could have imagined.

“This is a startlingly superior piece of craftsmanship, with the flavour of life and richness of the script conveyed via uniformly wonderful performances.” – Empire Magazine

“Eat Drink Man Woman may not just amuse and entertain you. It’s likely to make you very hungry, too-perhaps for more than food.” – Chicago Tribune

“Wonderfully seductive, and nicely knowing about all of its characters’ appetites.” – New York Times

“A spicy, well-written comedy about family, food and independence.” – San Francisco Chronicle

88% on Rotten Tomatoes

Master Chef Chu (Sihung Lung) is semi-retired and lives at home with his three unmarried daughters, Jia-Jen (Kuei-Mei Yang), a religious chemistry teacher; Jia-Chien (Chien-Lien Wu), an airline executive; and Jia-Ning (Yu-wen Wang), an employee at a fast-food joint. Life at the family’s house revolves heavily around preparing and eating an elaborate dinner every Sunday. The stability of these meals gives them all strength as they deal with new romantic relationships and disappointments.

“An interesting effort to give one of the staples of mass entertainment something extra in the way of insight and feeling.” – Observer

“Where The Hulk excels is in Schamus and Lee’s almost academic attempt to reinvent the superhero movie according to the rules of its source material.” – Premiere Magazine

“A comic-book movie for adults, that, while it finally flies wide of its intended ‘classic’ mark, is shockingly ambitious in nearly everything it attempts…”- Austin Chronicle

Eric Bana (“Black Hawk Down”) stars as scientist Bruce Banner, whose inner demons transform him in the aftermath of a catastrophic experiment; Jennifer Connelly portrays Betty Ross, whose scientific genius unwittingly helps unleash the Hulk; Nick Nolte plays Banner’s brilliant father, who passes on a tragic legacy to his son; and Sam Elliott portrays the commander of a top-secret military research center.

“[A] powerful and moving film, a smart study of relationships that could but can’t and never will be.” – Empire Magazine

“The whole movie is a rich, spacious, passionate way of showing, not telling, feelings that dare not speak their name — and doing so with superb intelligence and magnificent candour.” – Guardian

“Lee has taken a story of gay love and placed it where it should be — in the mainstream. He’s delivered a beautifully crafted film to boot.” – Time Out

“A film about love and the cost of lying that’s exquisite in its beauty, painful in its truths.” – Houston Chronicle

88% on Rotten Tomatoes

In 1963, rodeo cowboy Jack Twist and ranch hand Ennis Del Mar are hired by rancher Joe Aguirre as sheep herders in Wyoming. One night on Brokeback Mountain, Jack makes a drunken pass at Ennis that is eventually reciprocated. Though Ennis marries his longtime sweetheart, Alma, and Jack marries a fellow rodeo rider, the two men keep up their tortured and sporadic affair over 20 years.

“…a bold reshaping of the romcom.” – Arizona Republic

Celine Song’s sophomore feature stars Dakota Johnson, Pedro Pascal, and Chris Evans in an attractive love triangle.

Johnson plays a young New York City matchmaker whose lucrative business gets complicated as she finds herself torn between the perfect match (Pascal) and her imperfect ex (Evans).

“This film feels like the coziest of blankets enveloping you in the theater. However, you should expect a few jolts of static electricity as you snuggle into that blanket. After all, this touching, beautiful film is based on a novella by Stephen King.” – Boston Globe

From childhood to adulthood, Charles “Chuck” Krantz experiences the wonder of love, the heartbreak of loss, and the multitudes contained in all of us.

This screening is presented in partnership with the American School for the Deaf, the first permanent school for the deaf in the United States and a nationally renowned leader in providing comprehensive educational programs and services for deaf and hard-of-hearing students.

There will be a special Q&A with Jeff Bravin, the Executive Director of the American School for the Deaf, on opening night – Friday, July 18, after the 7 pm screening.

“An intimate and moving documentary that takes us through the legendary life of Marlee Matlin, uncovering a legacy of advocacy, activism, and perseverance.” – RogerEbert.com

“It’s as much about its form as its content; what it says is demonstrated by how it says it. The resulting film is engrossing — and it’s also profound.” – The NYT

“The result is an intimate portrait of a deaf artist who led a 35-year crusade for equity and inclusion in an industry that’s never quite known how to deal with her.” – NPR

98% on Rotten Tomatoes

Academy Award® winner Marlee Matlin recounts the winding road of her life and career as the most influential Deaf actor of her generation in this sublime 2025 American documentary film, directed and produced by Shoshannah Stern.

Marlee Matlin was born into a hearing family, like roughly 95% of Deaf people. Growing up in Illinois, she faced episodes of isolation and abuse. She found joy in performing at a local deaf theater. In 1987, Marlee Matlin became the first Deaf actor to win an Academy Award and was thrust into the spotlight at 21 years old. Reflecting on her life in her primary language of American Sign Language, NOT ALONE ANYMORE explores the complexities of what it means to be a trailblazer. As a child, filmmaker Shoshannah Stern was inspired to believe that a deaf woman like herself could pursue a career as an actor after seeing Matlin win her Oscar. Stern’s directorial debut is an intimate, honest, and loving conversation between two profoundly connected people that weaves together Matlin’s first-person account with interviews from those who know her best.

In American Sign Language and English, with English subtitles

We are celebrating Wong Kar Wai’s iconic IN THE MOOD FOR LOVE on its 25th anniversary with a stunning new 4K restoration!

In addition to screening the original film, we will screen IN THE MOOD FOR LOVE 2001, an extended 9 minute short film, experienced only by audiences during Wong Kar Wai’s masterclass at Cannes in 2001.

This short film, intended as the “dessert” for the main course, demonstrates the director’s elegant ability to generate palpable atmosphere and striking characterizations with stars Tony Leung Chiu Wai and Maggie Cheung Man Yuk once again sparking undeniable chemistry, evoking the mystery of transient, unexpected connections in the modern city through his inimitable romantic touch.

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“In the Mood for Love is probably the most breathtakingly gorgeous film of the year (2001), dizzy with a nose-against-the-glass romantic spirit that has been missing from the cinema forever.” – The New York Times

“Their pain borne with grace and their rapture held in check are revealed as vividly through the two stars’ radiant stillness as from the nocturnal glow of Wong’s poised, tense images.” – The New Yorker

“[A] mesmerising tale of love never realised – it’s up there with Brief Encounter and Roman Holiday as the best of the genre.” – The Times (UK)

92% on Rotten Tomatoes

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In 1962, journalist Chow Mo-wan (Tony Leung Chiu Wai) and his wife move into a Hong Kong apartment, but Chow’s spouse is often away on business. Before long, the lonely Chow makes the acquaintance of the alluring Su Li-zhen (Maggie Cheung Man-yuk), whose own significant other also seems preoccupied with work. As the two friends realize their respective partners are cheating on them, they begin to fall for one another; however, neither wants to stoop to the level of the unfaithful spouses.

“Really an extraordinary film.” – FilmWeek

“…moving and intimate look at her (Janis Ian) life and genius as a musical storyteller. Kudos to director Varda Bar-Karfor crafting a documentary as direct and uncompromisingly honest as its subject.” – In Their Own League

100% on Rotten Tomatoes

In 1965, Janis Ian, a 14-year-old singer-songwriter from New Jersey, wrote “Society’s Child” about an interracial relationship. Recorded and released a year later, the song launched Ian’s career, but its subject matter ignited controversy, even resulting in death threats. The fallout plunged Ian into an emotional tailspin–and yet a few years later she emerged from the ashes with an even bigger hit, “At Seventeen.”

Over six decades, Janis Ian gained 10 Grammy nominations in 8 different categories, saw her song “Stars” recorded by such luminaries as Nina Simone and Cher, and overcame homophobia, misogyny, and a life-threatening illness to produce an indelible body of work that continues to draw audiences around the globe.

Featuring Janis Ian, Joan Baez, Jean Smart, Arlo Guthrie, Lily Tomlin, and Tom Paxton, among other icons.

“A gorgeous drama with an open, aching heart.” – RogerEbert.com

“Because writer-director Sarah Friedland’s debut finds so much depth in its subjective approach to memory loss, it loses much of its stigma and discovers wonder in its place.” – AV Club

“Familiar Touch” reveals itself to be less about the agonies of change than in the concessions we make to feel closer to our loved ones and ourselves.” – The NYT

98% on Rotten Tomatoes

Ruth (Kathleen Chalfant), a retired cook, prepares breakfast in her sunny and cozy kitchen — a dish she seems to have made many times before, although small and puzzling errors now punctuate her comfortable routine. When her son (H. Jon Benjamin) arrives to dine with her, she mistakes him for a suitor.

Their “date” takes them to an assisted living facility, which Ruth does not remember that she had previously selected for herself. Among her fellow memory care residents, Ruth feels lost and adrift, certain she has found herself somewhere she does not belong.

As she slowly begins to accept the warmth and support of care workers Vanessa (Carolyn Michelle) and Brian (Andy McQueen), she finds new ways to ground herself in her body, even as her mind embarks on a journey all its own.

Writer-director Sarah Friedland’s coming-of-old-age feature compassionately follows the winding path of octogenarian Ruth’s shifting memories and desires while remaining rooted in her sage perspective.

“Neither too “oy vey” nor “Weekend at Bernie’s” but steeped in the best aspects of both Jewish and black comedy, “Bad Shabbos” is a treat any night of the week.” – The San Francisco Chronicle

90% on Rotten Tomatoes

With an ensemble cast starring Jon Bass, Meghan Leathers, Cliff “Method Man” Smith, Ashley Zukerman, Milana Vayntrub, Theo Taplitz, Catherine Curtin, John Bedford Lloyd, David Paymer and Kyra Sedgwick.

An engaged interfaith couple is about to have their parents meet for the first time over a Shabbat dinner when an accidental death gets in the way.