Diane

World-renowned director Martin Scorsese narrates this journey through his favorites in Italian cinema.

Filmmakers discuss the legacy of Alfred Hitchcock and the book “Hitchcock/Truffaut” (“Le cinéma selon Hitchcock”), written by François Truffaut and published in 1966.

Martin Scorsese narrates this tribute to Val Lewton, the producer of a series of memorable low-budget horror films for RKO Studios. Raised by his mother and his aunt, his films often included strong female characters who find themselves in difficult situations and who have to grow up quickly. He is best remembered for the horror films he made at RKO starting in 1940. Starting with only a title - his first was The Cat People - he would meticulously oversee every aspect of the film's completion. Although categorized as horror films, his films never showed a monster, leaving it all to the viewers imagination, assisted by music, mood and lighting.

A veteran actress comes face-to-face with an uncomfortable reflection of herself when she agrees to take part in a revival of the play that launched her career 20 years earlier.

Martin Scorsese reflects on the profound influence of director Elia Kazan, tracing his artistic journey from the Group Theatre to Hollywood success and the controversies of the blacklist era. Co-directed with Kent Jones, the film combines interviews and clips from Kazan’s classics—On the Waterfront, A Streetcar Named Desire, and America, America—to portray him as a deeply personal filmmaker within an often impersonal industry.

At the very end of the 1970s, post office worker Ed Saxberger wrote a book of poetry that nobody cared about. After an eager and flattering fan appears on his doorstep, Saxberger is beckoned into a coterie of young admirers who anoint him a rediscovered genius. The group of downtown bohemians is led by their "tragic heroine," Gloria. Intoxicated by the attention, and Gloria's alluring presence, Saxberger gradually reckons with the authenticity of his newfound poetic circle.

At the end of WWII, Jimmy Picard, a Native American Blackfoot who fought in France, suffers from unexplainable symptoms and is admitted to a military hospital. When doctors suspect schizophrenia, an eccentric psychoanalyst takes up the case and starts a conversation with the veteran.

Filmmaker Martin Scorsese looks back over the impact of The Statue of Liberty on the Twentieth Century, her evolution, what she meant to people of the past, and what she continues to mean after September 11th, 2001.

Martin Scorsese revisits the Little Italy streets where he grew up, reflecting on how the neighborhood’s people, culture, and daily life shaped his outlook and influenced the stories he would later tell on film.

What does it mean, to go to the movies? Why have people been going for over one hundred years? I set out to celebrate movie theaters and their manifold magic. So I walked in the footsteps of young Paul Dédalus, as if in a filmgoer’s coming-of-age story. Memories, fiction, discoveries come together in an irrepressible torrent of pictures.

The Concert for New York City (2001) captures the star-studded benefit held at Madison Square Garden on October 20, 2001, honoring the city’s resilience and the heroism of first responders after 9/11. Attended by thousands of firefighters, police officers, and rescue workers, the concert features performances by Paul McCartney, The Who, Elton John, Billy Joel, and other music legends in a powerful tribute to unity, courage, and recovery.

Explore the remarkable stories of eight men and women who risked everything to embody humanity's most noble and complex trait — faith.

Making of documentary on The Souvenir & The Souvenir Part II.

"Shortly after Amos went into home hospice he began filming ‘Adios’, a short film, compiled of 16mm and Super 8 footage, to premiere at his memorial, chronicling all the family and friends who have come to visit. Even Courtney our absolutely wonderful hospice nurse is in it. […] Only twice have we forgotten to film a visitor. Amos designated me the Director of Photography. Since I have to focus and shoot using my bad left eye the joke in our home is that it’s a film by a dying director and a blind DP." – Claudia Summers