Two documentaries selected concern battles for representation. The Oscar-winning “Helen Keller in Her Story” (1954), by Nancy Hamilton, follows its subject, who was deaf and blind, from her childhood frustration to global success as an author, lecturer and activist for the rights of women and disabled people. “We’re Alive” (1974) chronicles six months of roundtables at the California Institution for Women that drew attention to inhumane prison conditions. The conversations were led by three U.C.L.A. graduate students, Michie Gleason, Christine Lesiak and Kathy Levitt.
The experiences of Asian Americans are also centered in several new selections: “Cruisin’ J-Town” (1975), Duane Kubo’s documentary about jazz musicians in Los Angeles’s Little Tokyo; the Bohulano Family home movies about a Filipino American community in Stockton, Calif. from the 1950s through the 1970s; and “Maya Lin: A Strong, Clear Vision” (1994), Freida Lee Mock’s Oscar-winning documentary about the designer of the Vietnam Veterans Memorial on the National Mall.
Three films that experimented with new forms and techniques were also selected: “The Lighted Field” (1987), Andrew Noren’s silent avant-garde masterwork that traffics in sensual shadow-play; “Queen of Diamonds” (1991), a drama by Nina Menkes, filmed in Las Vegas, that contrasts the noise and neon of the city with the quiet, lonely lives of its residents; and “The Lady and the Tramp” (1955), the Disney animated romance between a spoiled cocker spaniel and a mutt, which was praised for its fuller character development and distinguished by its use of a wide-screen CinemaScope format.
The lineup also recognizes the debut features of several award-winning filmmakers: Martin Ritt’s noir drama “Edge of the City” (1957), which stars Sidney Poitier as a dockworker whose friendship with a white co-worker (John Cassavetes) aggravates a racist union leader; Gina Prince-Bythewood’s “Love & Basketball” (2000), a romantic sports drama that follows a boy and girl as they pursue basketball careers from childhood; and “¡Alambrista!” (1977), a small-budget film by Robert Young — often shot with a shaky, hand-held camera — that follows a farmer who enters the United States from Mexico undocumented, seeking work to support his family, which incorporates elements of guerrilla and activist filmmaking.
Finally, New Yorkers — or those who love New York — will find a lot to like on the list this year: Choices for a Manhattan-set adventure include “Fame” (1980), Alan Parker’s teen musical drama about the High School of Performing Arts; “Desperately Seeking Susan” (1985), Susan Seidelman’s wackball of a film that follows an unhappy New Jersey housewife (Rosanna Arquette) down a rabbit hole of personal ads and mistaken identity; and “The Wedding Banquet” (1993), Ang Lee’s comedy about a gay Taiwanese man in New York who marries a Chinese woman to appease his parents back home (high jinks ensue when they decide to pay the “couple” a visit).
