The first ever studio movie from a Black director tells the semi-autobiographical story of its director growing up in 1920s Kansas, and I was actually pretty impressed with it as a movie.

TOM JONES (1963)

A movie set in the 1700s, released in the early 1960s, that still feels startlingly modern today. I absolutely loved it. Why did no one tell me this movie was so good? He said about the Oscar winner.

CLÉO DE 5 À 7 (1962)

The earliest big international hit of the great Agnés Varda follows a female singer on a nearly-real-time journey through the Left Bank of Paris as she waits on the results of a cancer test, but it’s actually about a lot of other things.

THE PARTY (1968)

I get why some people probably love this virtuoso exhibition of physical comedy by Peter Sellers, but not only is it super racist, I think it should be re-titled “Social Anxiety: The Movie.”


This is sort of the closest thing you’ll find a movie by and for the Beat Movement, an interesting exercise but I’m not sure it actually works as a film.


Luis Buñuel deftly portrays the inner sexual fantasy life of a beautiful Parisian woman in a way that the movies really hadn’t before.


You know almost every song, but wow is this not actually a good movie. This is probably Christopher Plummer’s most famous role, but he also hated it.


Thank you to everyone who joined us for our Watch Party of this seminal 1967 counterculture classic about Depression-era bank robbers.

8 ½ (1963)

Federico Fellini couldn’t figure out how to make a movie and made a movie about not being able to make a movie. I’m still trying to figure it out.