Our guide to film series and special screenings. All our movie reviews are at nytimes.com/reviews/movies.
THE BEGUILING BUJOLD at the Quad Cinema (through Aug. 16). The Quad describes the French Canadian actress Geneviève Bujold as difficult to categorize, but you could argue that she has an affinity for movies about physicians: In “Coma” (Monday and Wednesday), adapted — and quite capably directed — by Michael Crichton from his friend Robin Cook’s novel, Ms. Bujold plays a Boston medical resident who discovers that the complications in Operating Room 8 are no accident. In David Cronenberg’s “Dead Ringers” (Sunday and Wednesday), she plays an actress who creates a rift between identical-twin gynecologists (both played by Jeremy Irons). As part of this series, the theater will also show Ms. Bujold’s seldom-screened collaborations with the director Alan Rudolph, including “The Moderns” (Sunday).
SUMMER DOUBLE FEATURES at Film Forum (Aug. 11 through Sept. 5). There is no better or more economical way to get a film education than to watch double features at Film Forum; the theater still makes it possible to catch considered pairings from the canon under excellent conditions and in rapid succession. You can compare Howard Hawks’s and Brian De Palma’s versions of “Scarface” (Friday); attune yourself to the austere style of Robert Bresson (“Au Hasard Balthazar” and “Diary of a Country Priest,” showing Wednesday); hold your breath for two classic 1950s heist movies, “The Asphalt Jungle” and “Rififi” (next Friday); or see two films starring Jeanne Moreau (“Elevator to the Gallows” and “La Notte,” Aug. 26), who died late last month. The connection between “The Big Lebowski” and “The Last Picture Show” (Sept. 5) is, admittedly, a bit more obscure.
THIS IS MINIDV (ON 35 MM) at Anthology Film Archives (Aug. 11-22). Anthology Film Archives looks back at the not-at-all-long-ago moment when unsightly variants of standard-definition digital video were blown up to 35 millimeter for theatrical release, creating an aesthetic noticeably different from that of the digitally shot and projected movies of today. Any survey of that period, from the late 1990s to the early 2000s, must begin with Dogma 95, a school of filmmaking that insisted on found locations and hand-held cameras, among other points. Lars von Trier initiated the movement, and Thomas Vinterberg’s jagged and brutal “The Celebration,” showing Friday and Sunday, made it known to the world. Mr. von Trier soon backed off his own guidelines, making digital video look beautiful with his magnificent, wide-screen “Dancer in the Dark” (Sunday, Tuesday and Aug. 19). The series also includes 15th-anniversary screenings of at least one unassailable use of the DV-on-film style: “Jackass the Movie” (Friday and Wednesday).
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