Novelist and critic Lynne Tillman (Haunted Houses, American Genius) will join Rainer in a far-reaching discussion of her work as a filmmaker.

A love triangle between a man and two women plays out as a series of tableaux against an austere backdrop, its particulars revealed largely through off-camera line readings and on-screen text.

Andy Warhol’s filmmaking was an important influence on Rainer’s, and in this film “the most beautiful man in the world,” now in his ’80s, gamely proceeds through dances he conceived decades prior.

This program features Rainer’s first forays into filmmaking, each of which grapples with how to use the performer as a medium rather than a persona.

One of Rainer’s most iconic dance works paired with an inspired and idiosyncratic study by Charles Atlas.

In Rainer’s second feature, a tempestuous affair is related via inter-titles, captions, voiceover, still images, and even a few sonatas.

This little-seen lesbian pirate movie by Ulrike Ottinger features a motley crew of women, among them a rollerskating Yvonne Rainer.

Two enigmatic films: Maya Deren’s groundbreaking avant-garde short, plus Rainer’s loose narrative about female lion tamer coming to America from Budapest.

This classic of feminist cinema recalls the work of Rainer in the way its theoretical inquiry shades brilliantly into filmmaking practice.

Rainer’s potent, digressive essay on insurrectionary struggle and the convolutions of inner life, achieved through radical juxtaposition.

The currents of psychoanalysis and feminism in the ‘70s yielded films like these, which reconceive the stories of women originally told by men.

A wry chronicle of the aftermath of a breakup between a philandering professor, played by two actors, and his artist wife, voiced by choreographer Trisha Brown, a largely unseen narrator.

Renoir’s film is a favorite of Rainer’s, whose work has likewise brought a complex moral imagination to bear upon tales of romantic entanglement.

A dizzying collage of fiction and autobiography that imagines the making of separate film: a documentary about menopause.

A poetic consideration of vernacular architecture and daily life in Senegal, Mauritania, Togo, Mali, Burkina Faso, and Benin, from the influential Vietnamese artist.

This darkly comic meditation on aging, breast cancer, and lesbian romance is by turns slapstick and sobering, and would be Rainer’s last feature.

Hollis Frampton’s seminal experimental short, plus a video work by Rainer that brings together Viennese philosophy and a dance she choreographed for a Mikhail Baryshnikov project.