This March, Criterion Channel highlights Buster Keaton, Isabelle Huppert, and Oscar winner (yes!) Michelle Yeoh

An favorite, contains some of Buster Keaton’s most iconic scenes, including the insanely expensive yet exquisite shot of a which then collapses into the river. The thing about locomotive gags is—they’re always funny (see: the entirety of film history). The General has them in abundance, with Keaton, playing a Civil War-era Confederate railroad engineer whose beloved train is stolen by Union forces, risking his life time and again to perfect the bit. At the time of its release, The General was considered a box office blunder, and Keaton would soon lose his creative independence for a more restrictive deal with MGM. However, nearly 100 years later, it remains a gem of early American cinema.

In her first starring role, Michelle Yeoh teams up with Cynthia Rothrock in Corey Yuen’s The movie is thin on plot but heavy on fun, giving as much time as possible to Yeoh and Rothrock’s impeccable stunt work. To sum it up: Yeoh and Rothrock play two inspectors who turn in their badges to pursue a crime lord outside the boundaries of the law. A mysterious microfilm is the object of interest for the maniacally laughing Tin (James Tien), who dupes the two inspectors over and over again in order to conceal its contents.

The fourth of seven films Marlene Dietrich made with Austrian-born, American-bred director Josef von Sternberg, is the most highly regarded of their collaborations. Dietrich stars as Shanghai Lily, a lady of the night whose past catches up with her while traveling on the titular train through China. Co-star Anna May Wong is effortlessly cool, with a presence just as mesmerizing as Dietrich’s. While the film is far from the best representation of the Chinese Civil War, Shanghai Express reminds us that sometimes cinema is at its best when Dietrich’s face fills up a frame, with cigarette smoke swirling around her. So many trains this month!

An extraordinarily underseen pre-Code flick, Rouben Mamoulian’s is as magical and endearing as its contemporaries. Maurice Chevalier stars in this romantic musical as a tailor (yes, a tailor) who poses as a nobleman and ends up falling in love with a princess (Jeanette MacDonald). The editing of Love Me Tonight feels far ahead of its time, with silky smooth dissolves, split screens, and playful adjustments of speed. The horse riding scenes are a hoot and a half. Mamoulian was by Ernst Lubitsch, and “the Lubitsch touch” can be felt all the way across this delightful film.