Street Date: October 12, 2021

Synopsis: Marking the moment when the gritty gangster sagas of the 1930s began giving way to the romantic fatalism of 1940s film noir, High Sierra also contains the star-making performance of Humphrey Bogart, who, alongside top-billed Ida Lupino, proved his leading-man mettle with his tough yet tender turn as Roy Earle. A career criminal plagued by his checkered past, Earle longs for a simpler life, but after getting sprung on parole, he falls in with a band of thieves for one last heist in the Sierra Nevada. Directed with characteristic punch by Raoul Walsh—who makes the most of the vertiginous mountain location—Roy and Lupino’s Marie, a fellow outcast also desperate to escape her past, hurtle inexorably toward an unforgettable cliffside climax and a rendezvous with destiny.

Street Date: October 19, 2021

Synopsis: Existentialism goes pop in this benchmark of atomic-age science fiction, a superlative adaptation of a novel by the legendary Richard Matheson that has awed and unnerved generations of viewers with the question, What is humanity’s place amid the infinity of the universe? Six months after being exposed to a mysterious radiation cloud, suburban everyman Scott Carey (Grant Williams) finds himself becoming smaller . . . and smaller . . . and smaller—until he’s left to fend for himself in a world in which ordinary cats, mousetraps, and spiders pose a mortal threat, all while grappling with a diminishing sense of himself. Directed by the prolific creature-feature impresario Jack Arnold with ingenious optical effects and a transcendent metaphysical ending, The Incredible Shrinking Man gazes with wonder and trepidation into the unknowable vastness of the cosmic void.

Street Date: October 26, 2021

Synopsis: Master filmmaker Satyajit Ray explores the conflict between fanaticism and free will in Devi (The Goddess), issuing a subversively modern challenge to religious orthodoxy and patriarchal power structures. In the waning days of mid-nineteenth-century India’s feudal system, after his son Soumitra Chatterjee) leaves for Kolkata to complete his studies, a wealthy rural landowner (Chhabi Biswas) is seized by the notion that his beloved daughter-in-law (a hauntingly sad-eyed Sharmila Tagore) is the reincarnation of the goddess Kali—a delusion that proves devastating to the young woman and those around her. The opulently stylized compositions and the chiaroscuro lighting by cinematographer Subrata Mitra heighten the entrancing expressionistic intensity of this domestic tragedy, making for an experience that is both sublime and shattering.