Wealthy Los Angeles housewife Evelyn Keyes, at home alone, is trailed by a Peeping Tom until conniving cop Van Heflin answers her call. With screenplay by Dalton Trumbo and Hugo Butler, The Prowler was Joseph Losey's final and most successful Hollywood creation before he emigrated to England. (Joseph Losey, 1951, 35 mm, 92 minutes)

Assembled from kinescopes of the live gavel-to-gavel broadcasts of the 1954 Army-McCarthy hearings, Point of Order! eschewed narration ("inherently condescending," said director De Antonio) and shaped its rigorous viewpoint entirely through editing. (Emile de Antonio and Daniel Talbot, 1963, 35 mm, 97 minutes) Preservation funded by The Film Foundation

Sunday utilized then-new portable recording technologies to capture a crowd of folksingers confronting police in Washington Square Park (Dan Drasin, 1961, 35 mm, 17 minutes) Preservation funded by The Film Foundation

Thirty-five years after its initial release, screenwriter-director John Cassavetes' masterpiece still retains its original raw power as an impassioned portrayal of a blue-collar family in turmoil. Gena Rowlands' tour de force performance as Mabel Longhetti, wife and mother struggling to tame her anarchic nature, won her a Golden Globe and an Oscar nomination. (John Cassavetes, 1974, 35 mm, 155 minutes) Preservation funded by The Film Foundation

Irish tenor John McCormack made his talking picture debut as a disconsolate concert singer who retires to a country village only until the return of his former sweetheart rejuvenates his career. (Frank Borzage, 1930, 35 mm, 85 minutes)

In Young America, Borzage's usual pair of young lovers is upstaged by two male school chums in their teens, Art Simpson (Tommy Conlon) and Edward "Nutty" Beamish (Raymond Borzage, the director's nephew). (Frank Borzage, 1932, 35 mm, 71 minutes)

"Hollywood's mooncalf affair with Freud, ending in an absurd instant cure for psychopathy…is fraught with Gothic overtones. Joan Bennett's heroine gradually realizes that—married to architect Michael Redgrave who literally and obsessively collects rooms in which murders have occurred—she must uncover the secret of the one room always kept locked"—Tom Milne. (Fritz Lang, 1948, 35 mm, 99 minutes) Preservation funded by The Film Foundation

Director Edgar G. Ulmer's 1940s psycho-melodrama is worthy of rediscovery. A flashback-structured tale of a sociopath's remorseless drive for station and wealth, the undercurrent of emotional violence is personified in a remarkable and starkly muted performance by Zachary Scott. (Edgar G. Ulmer, 1948, 35 mm, 104 minutes) Preservation funded by The Film Foundation

"Sayles gave the figure of the alien a revitalized punch by casting African American actor Joe Morton as a visitor from beyond the stars. After ditching his malfunctioning spaceship at Ellis Island, Morton's mute newcomer, known only as 'The Brother,' navigates the mores of Manhattan as he searches for a place to call home."—Cara King. (John Sayles, 1984, 35 mm, 108 minutes)

John Sayles' directorial debut is a frequently funny, occasionally melancholy look at the lives of a few formerly radical friends who gather for a reunion ten years after their arrest in Secaucus, New Jersey, en route to a demonstration in Washington. Preceding The Big Chill by several years, Return of the Secaucus 7 was produced independently and shot with a cast of unknowns. (John Sayles, 1980, 35 mm, 110 minutes)

The Vitaphone Corporation produced thousands of appealing shorts in the late 1920s featuring musicians, vaudeville acts, and radio stars, recording the soundtracks on large phonograph discs for synchronized playback. This mix, celebrating the often raucous talents that have made these shows must-see events, includes among others: The Opry House (1929); Tex McLeod, "A Rope and a Story" (1928); Tal Henry and His North Carolinians (1929); and Helen Morgan, "The Gigolo Racket" (1931). (35 mm, 110 minutes total)

A cornerstone of Sri Lankan cinema, Gamperaliya launched "a revolution, not only in the way films were made but also in content…[director] Peries sought an alternative to the Bollywood-influenced melodramas that dominated commercial cinema…With an elegant narrative style comparable to Satyajit Ray's Apu Trilogy, [the film's] aesthetic choices also have a moral dimension"—David Chute. (Lester James Peries, 1964, 35 mm, Sinhala with subtitles, 110 minutes)