It's that time of the year again-- the time when we're reminded of all the bliss, ecstasy, contentment (and, yes, humiliation and misery) that goes arm-in-arm with romance. And what better way to celebrate this roller coaster of a holiday than to go to the movies and see the powers of romance beautifully and cathartically magnified on the big screen? Join us on Valentine's weekend for films that celebrate amour in its many forms.

Thursday, February 11 - 7:30 PM

Jennifer Jones Memorial Double Feature: PORTRAIT OF JENNIE, 1948, Disney, 86 min. Dir. William Dieterle. This wistful love story focuses on struggling artist Joseph Cotten as he gradually falls in love with Jennie (Jennifer Jones), a strange young girl he meets in Central Park. As Cotten periodically runs into her over a series of months, she seems to grow up before his eyes, and he slowly comes to understand that his new muse is the restless spirit of a long-dead woman.

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LOVE LETTERS, 1945, Universal, 101 min. Dir. William Dieterle. Soldier Allen Quinton (Joseph Cotten) does a seemingly harmless favor for his inarticulate friend and writes romantic letters to the friend’s lover, Victoria (Jennifer Jones). Slowly, Quinton develops intense feelings for his unlikely pen pal. When Quinton’s friend winds up dead, and a luscious amnesiac known only as Singleton arrives on the scene, it seems that a more nefarious conspiracy is at play than meets the eye. Jones scored a Best Actress Oscar nomination for her role.

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Friday, February 12 - 7:30 PM

Double Feature: BEAUTY AND THE BEAST (LA BELLE ET LA BETE), 1946, Janus Films, 93 min. The first feature directed by Jean Cocteau was a labor of love that attests to the imagination and perseverance of Cocteau and his entire production team in the face of severe deprivations under the Nazi occupation. One of the most enchanting films ever made. In French with English subtitles.

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DONKEY SKIN (PEAU D’ÂNE), 1970, 90 min. Jacques Demy's strange, lovely film tells the story of a devoted king (Jean Marais) who promises his dying wife (Catherine Deneuve, a Demy favorite) that his new queen will be equal to her in beauty. Of course no one can compare to Deneuve, which leaves the queen’s daughter (also played by Deneuve) as the sole contender. Heeding the advice of a bizarre fairy godmother (Delphine Seyrig), the princess delays her father's incestuous advances using a series of impossible dressmaking challenges. In French with English subtitles.

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Saturday, February 13 - 7:30 PM

Double Feature: BREAKFAST AT TIFFANY’S, 1961, Paramount, 115 min. When Audrey Hepburn’s girl-about-town Holly Golightly meets handsome nice guy George Peppard, she begins to gradually rethink her anything-goes, high-living lifestyle. Adapted from Truman Capote’s bestselling romance by director Blake Edwards (THE PINK PANTHER, THE PARTY) and featuring what is arguably Henry Mancini’s greatest score.

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SABRINA, 1954, Paramount, 113 min. Dir. Billy Wilder. Chauffeur's daughter Audrey Hepburn blooms from ugly duckling to a chic young woman who must choose between wealthy, middle-aged Humphrey Bogart and cocky lover-boy William Holden.

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Sunday, February 14 - 7:30 PM

Double Feature: REBECCA, 1940, Walt Disney Co., 130 min. Director Alfred Hitchcock’s Gothic romance asks the question: Did guilt-ridden, rich widower Laurence Olivier do away with his notorious wife Rebecca or not? And what secret does sinister, manipulating housekeeper Mrs. Danvers (Judith Anderson) hold that may unlock the mystery? As the widower’s second wife, a young Joan Fontaine attempts to unravel the mystery.

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NOTORIOUS, 1946, Walt Disney Co., 101 min. Director Alfred Hitchcock’s superb espionage thriller and intoxicating love story follows allied agent Cary Grant as he convinces disillusioned party girl Ingrid Bergman, the daughter of a supposed traitor, to marry and spy on her father’s Nazi friend (Claude Rains). This seemingly clever plan becomes complicated by the smoldering romance that emerges between Grant and Bergman. Set in Brazil during WWII, the film has an exceptionally subtle yet menacing portrayal of the Nazis, as exemplified by Rains’ show-stealing, weirdly sympathetic performance.