Our guide to film series and special screenings. All our movie reviews are at nytimes.com/reviews/movies.
‘THE CRAVEN SLUCK’ and ‘THE CRAZIES’ at the Museum of Modern Art (Aug. 2 and 6). Before turning to follow-ups to his “Night of the Living Dead,” George A. Romero — who died on July 16 — directed the “The Crazies” (1973). The title refers to residents of a Pennsylvania town who are made murderous by a government-engineered virus. As part of MoMA’s Future Imperfect series, Mr. Romero’s movie will show with “The Craven Sluck” (1967), a 20-minute camp fest from the underground filmmaker Mike Kuchar.
‘FARREBIQUE, OR THE FOUR SEASONS’ and ‘BIQUEFARRE’ at Anthology Film Archives (July 28 through Aug. 3). In 1944 and ’45, the French filmmaker Georges Rouquier documented the lives of peasant farmers from his extended family, with an eye toward the changing seasons and the changing times. The result, “Farrebique, or the Four Seasons,” shows in an archival print Friday through Sunday and in a digital restoration Monday through Thursday. The film diarist, artist and critic Jonas Mekas, 94, who programmed “Farrebique,” will introduce the Friday screening, which is at 7:30 p.m. Mr. Rouquier returned for a 1983 sequel of sorts, “Biquefarre,” showing Saturday and Sunday.
SHOT BY CARLO DI PALMA, FROM ROME TO NEW YORK at the Film Society of Lincoln Center (July 28 through Aug. 3). The Film Society toasts the great cinematographer Carlo Di Palma, who helped to establish the look of Italian neorealism in Vittorio De Sica’s “Bicycle Thieves” (Tuesday) and worked with Michelangelo Antonioni on the striking use of color in “Red Desert” (Friday and Wednesday). The series also offers a chance to reappraise some less-loved films, including Woody Allen’s homage to German Expressionism, “Shadows and Fog” (Friday and Monday) — one of five Allen movies showing — and Bernardo Bertolucci’s tough-to-find “Tragedy of a Ridiculous Man” (Tuesday).
LOIS WEBER: FIRST AUTEUR at Film Forum (July 30, Aug. 6 and Sept. 16). Film Forum contributes to the rediscovery of the silent-screen director Lois Weber, a prolific contemporary of D. W. Griffith’s who was one of the most highly regarded figures in the early film industry — and who happened to be a woman. “An auteur before that word entered the cinematic lexicon, she wrote, directed and edited films and was admired for her sensitive work with actors, her on-set meticulousness and her stories about women,” Manohla Dargis wrote in The New York Times last year. This week’s film is “The Blot” (Sunday), about a librarian sought by two men — rich and poor — and about her mother, who strains to appear well-to-do.
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