Join us as we view and discuss films from around the world that address complexity as a theme and use complexity as a storytelling method.

From September 2025 to May 2026, the Complex World film club will meet once each month to discuss a film from our program.

The films selected for this theme share a common trait: they exhibit “complexity” in some very particular way, such as multiple narrative strands; or multiple dispersed locations; or character anomalies and complex identities. Even the simplest film is inherently complex in the multiple elements required to make it, but when complexity is also a film’s subject, then filmmakers adapt their methods to find creative solutions for complex representation.

Kurosawa’s classic Rashomon dramatizes the complexity of differing accounts of the same event. Films such as Tarantino’s Pulp Fiction, Iñarritu’s Amores Perros, and Soderbergh’s Traffic create complex narratives by following the interactions of characters from different social environments in shared locations. Tykwer’s Run Lola Run applies a “butterfly effect” principle to explore how small changes in dramatic action create different outcomes. In Haynes’ I’m Not There, six different actors play the role of Bob Dylan in various guises. Gaghan’s Syriana and Iñarritu’s Babel unfold complexity on a global scale. The Wachowski’s Cloud Atlas moves through different times, places, and characters to show the complex connections of life. These films show a philosophical interest in chance, contingency, and the pursuit of truth, as well as a moral and sociological interest in characters’ lives and environments.

Film club members watch each film independently before the Zoom discussion. In advance of each meeting, the facilitator will distribute a one-page set of observations and questions to prompt independent thinking about the film, as well as a selection of short reviews. Following each discussion, film club members will have the voluntary opportunity to write a short essay about some aspect of the film; the facilitator will organize all the essays and distribute them to all members.

The group meets on the 2nd Wednesday of the month virtually via Zoom, from 5:30-7pm. Group members receive Zoom meeting invitations on the day of each meeting.

Film club members watch each film independently in advance of the meeting; the purpose of the meeting is to discuss the film. Members have options for viewing the films: online streaming or by borrowing or purchasing DVDs. Please see the section on “Access to Films.”

Please note that there is a viewing assignment for the first meeting. The film selections may be subject to change in the course of the year.

Wed, September 10
Akira Kurosawa, Rashomon (1950), 88 minutes. Criterion Channel, Kanopy, Apple TV, Amazon Prime Video, Fandango at Home, Max.

Wed, October 8
Quentin Tarantino, Pulp Fiction (1994), 154 minutes. Apple TV, Amazon Prime Video, Fandango at Home, Hulu, YouTube.

Wed, November 12
Tom Tykwer, Run Lola Run (1998), 80 minutes. Hoopla, Apple TV, Amazon Prime Video, Fandango at Home, YouTube.

Wed, December 10
Alejandro Iñarritu, Amores Perros (2000), 154 minutes. Hoopla, Apple TV, Amazon Prime Video, Fandango at Home, YouTube.

Wed, January 14
Steven Soderbergh, Traffic (2000), 147 minutes. Apple TV, Amazon Prime Video, Fandango at Home, Starz, YouTube.

Wed, February 11
Stephen Gaghan, Syriana (2005), 128 minutes. Apple TV, Amazon Prime Video, Fandango at Home, YouTube.

Wed, March 11
Alejandro Iñarritu, Babel (2006), 144 minutes. Kanopy, Apple TV, Amazon Prime Video, Fandango at Home, Paramount.

Wed, April 8
Todd Haynes, I’m Not There (2007), 135 minutes. Hoopla, Apple TV, Amazon Prime Video, Fandango at Home, YouTube, Fubo, Peacock.

Wed, May 13
Lana and Lily Wachowski, Cloud Atlas (2012), 172 minutes. Apple TV, Amazon Prime Video, Fandango at Home, YouTube, Fubo.

Wed, June 10
Optional bonus meeting: Celebration at the Athenæum!

Every film in this schedule should be accessible to any member with access to on-demand video services or to a DVD player.

Most members will have multiple options, whether they prefer streaming or DVD. If you have a preferred streaming service, be sure to check whether is particular film is offered. Some streaming services make a film available for a set period of time and then withdraw it when they offer other films in rotation. This means that for certain streaming services, a particular film may not be available for the month when the film club will discuss it. As of this writing, the information provided in the viewing schedule is correct.

An excellent resource to identify streaming platforms for specific films is the free app JustWatch.

If you prefer streaming, most films offered this year are available on multiple platforms. Some platforms are free; others are paying, either by subscription plans, or pay-per-view or digital purchase. A subscription to the Criterion Channel is highly recommended. This subscription service, associated with the Criterion Collection, provides access to a very large number of foreign and domestic films of excellence, as well as to rotating film offerings. It is an excellent, economical service. You may watch any film as often as you like; it is not “pay per view.” There are many extra features (interviews, versions with commentary, essays) that are not available elsewhere. Highly recommended! One of the nine films in this year’s program is accessible on Criterion Channel.

Hoopla is an on-demand video streaming platform available free with your Athenaeum membership. Athenaeum staff can advise you on accessing Hoopla. Three of the 9 films (Run Lola Run, Amores Perros, I’m Not There) in this year’s program are accessible on Hoopla.

Kanopy is another streaming service with access to films provided free with a local public library card or with borrowing privileges from a college or university. Kanopy is not accessible with Athenaeum membership. Access to specific films varies by the individual library or educational institution. Kanopy may offer access to one of the 9 films in this year’s program (Babel). If you do not have a local public library card, it is strongly recommended that you obtain one.

Commercial platforms: Apple TV, Amazon Prime Video, Fandango at Home, YouTube and others are very good sources for most of the films on this year’s program. Most of them offer the opportunity to rent or to buy (digitally) the film. Prices are nominal. Some offer streaming in HD (high definition); you can check the JustWatch app to see whether HD is offered.

Streaming caveat: you may find (on YouTube and elsewhere) other versions of these films. Be wary of “bootleg” copies that may have been reproduced without authorization. Unauthorized copies may have viruses or other malware. A “free” viewing may end up being very expensive if your computer, phone, or TV gets hacked as a result.

If you prefer to watch using DVDs, there are several options. Films on DVD may be available for borrowing from the Athenaeum or from the RISD Library or both. Your local public library may also have films in their DVD collections. These are good options, but with demand from many film club members at the same time, you may not be able to borrow the DVD when you prefer. Another option is to purchase DVDs, from the usual sources, as well as from the Criterion Collection.

Athenæum member Steve Coon leads the film club as facilitator. Steve earned a Ph.D. from Brown University in Comparative Literature in 1976. Since 2012, he has lead reading and film discussion groups at the Athenæum. He has led the film club since 2021, with topics of “Paris in French Film,” “London in British Film,” “French Film Beyond Paris,” and “Love in French Film.” Steve emphasizes that the film club is not a “class,” but rather an opportunity for cinephiles of all backgrounds to experience and discuss great achievements in the world of cinema.