One of the most unique and fascinating swashbucklers of the studio era stars a commanding Jean Peters as a notorious pirate exacting ruthless revenge on the men who double-cross her.

Tourneur’s mastery of mood and unsettling ambiguity transform a diverting jungle adventure—with Glenn Ford as the leader of a doom-laden journey through Central America—into something resembling existential horror.

Shot on location amid the ravages of postwar Frankfurt and Berlin, this crackling espionage thriller starring Robert Ryan and Merle Oberon blends shadowy intrigue with a genuinely moving plea for tolerance in the face of nationalism, hatred, and fear.

Made as a B picture with few special effects and changes in scenery, the most successful of the Val Lewton–produced horror films concerns a Serbian woman (Simone Simon) who believes she is cursed to transform into a murderous feline. Screening with The Ship That Died.

This slow-burn mystery is a disquieting, echt-Tourneurian inquiry into the frighteningly elusive nature of truth with Ray Milland as an American in England discovering that the more he finds out about his brother’s suspicious death, the less he understands.

Genre greats Vincent Price, Peter Lorre, Boris Karloff, and Basil Rathbone are at their scenery-chewing best in this marvelously goofball horror spoof from American International Pictures.

A debuting Gregory Peck combats Nazis in one of Tourneur’s most neglected works: a sensitive, surprisingly affecting portrait of ordinary Russians grappling with questions of loyalty, love, and duty in the midst of World War II.

Just before he propelled the B movie to new artistic heights in Cat People, Tourneur directed this rarely-seen crime drama about two doctors—one working for the state, the other for gangsters—in love with the same woman.

Money, sex, and football: the three cornerstones of American life spell doom in Tourneur’s cynical, subversive anti-marriage melodrama, a Sirkian sports movie with a dark noir undercurrent.

An unsung gothic gem amongst Tourneur’s extraordinary 1940s work, this mood-drenched tale of murder and madness in a turn-of-the-century Manhattan mansion bristles with an air of anxious uncertainty.

Dana Andrews (Night of the Demon) stars as a brainwashed Korean War vet alert to the dark secret of the firm to which he’s just returned in Tourneur’s rarely screened Red Scare thriller.

Burt Lancaster’s megawatt grin and acrobatic athleticism light up this grandly entertaining swashbuckler, composed by Tourneur in exquisite Technicolor chiaroscuro.

Three Tourneur-directed episodes of the short-lived television series Northwest Passage comprise this rollicking adventure yarn, which rises above its small-screen origins thanks to the filmmaker’s expert touch.

Directed in part by Mario Bava, this strikingly stylized sword-and-sandal spectacular is a dynamic showcase for the Herculean physique of bodybuilder turned international peplum icon Steve Reeves.

Tourneur’s moral and aesthetic complexity elevates this dark, anti-heroic western, a searing exploration of greed, jealousy, and simmering violence in an America on the brink of the Civil War.

Tourneur’s third collaboration with Val Lewton concerns a black leopard that escapes during a publicity stunt and becomes suspect in a killing spree upending a quiet New Mexico town. Screening with The Man in the Barn.

Laced with hints of the shadowy menace Tourneur would unleash fully in his genre-redefining Val Lewton films, this action-packed programmer stars Walter Pidgeon as the unflappable super-sleuth mixed up in an aeronautical mystery. Screening with Reward Unlimited.

In this ominous modern-day chiller about witchcraft in England, an American professor (Dana Andrews) gets wrapped up in an investigation surrounding a satanic cult.

In Tourneur’s terrifically compact, low-key adaptation of a 1947 David Goodis novel, a man is mistaken for a robbery-murder and pursued by authorities and the real culprits. Screening with What Do You Think? (N. 1).

Tourneur’s landmark noir boasts one of Robert Mitchum’s most iconic roles and is singularly rich with twists, turns, and profound ideas concerning the complex relationship between the past, the present, and fate.

Walter Pidgeon and Donald Meek reprise their roles as detective Nick Carter and his beekeeper sidekick Bartholomew in this slick comic mystery surrounding the mysterious disappearance of merchant vessels along the Panama Canal.

One of the unsung glories of American cinema, this glowingly nostalgic evocation of life, death, conflict, and community in a small western town in the mid-1800s marries the frontier folklore of Twain with the transcendent spirituality of Dreyer.

Expansive beyond its compact running time, this superb, painterly western stars Joel McCrea as a rugged judge who sets out to bring justice to an untamed frontier town—whether by law book or by rifle.

Tourneur’s first Hollywood feature is a punchy, crime-doesn’t-pay gangster saga that mixes semi-documentary footage—shot in penitentiaries across the country, including Alcatraz—with shadow-splashed, proto-noir style.

Victor Mature is an international gunrunner playing both sides in the conflict between France and rebel tribes in West Africa in this pleasurably pulpy desert adventure.

The sinister, irrational forces that course throughout Tourneur’s body of work lend intriguing dimension to his final film, an imaginative, Jules Verne-esque fantasy starring Vincent Price as the diabolical overlord of a secret underwater city.

Gloriously shot on location on the Pampas of Argentina, this majestic South American Western—in which gaucho bandits strike back against the encroaching forces of civilization—is among Tourneur’s most pictorially ravishing films.

Joel McCrea is legendary lawman Wyatt Earp in this subversive, masterfully crafted Western, which exemplifies the formal elegance and sophisticated worldview Tourneur brought to the genre.

We’re pleased to present a selection of Tourneur’s earliest one-reelers—an assortment of Pete Smith Specialties and John Nesbitt’s Passing Parades—produced at MGM between 1936 and 1942.