Our guide to film series and special screenings. All our movie reviews are at nytimes.com/reviews/movies.
FILM & NOTHING BUT: BERTRAND TAVERNIER at the Quad (June 20-29). In “My Journey Through French Cinema,” opening June 23, the director Bertrand Tavernier, who started his career as a critic, takes filmgoers on a guided tour of France’s cinema history. But Mr. Tavernier’s own body of work — which arguably had its crowning moment in the 1980s — may be underexplored today. (Who remembers “Death Watch,” to be shown June 24 and 28, an early science fiction satire on what we now think of as reality TV, with Harvey Keitel as a reporter with a camera in his eye who films the last days of a dying woman, played by Romy Schneider.) The highlights of this 17-film series include “Coup de Torchon” (Thursday, June 23 and June 25), which transplants Jim Thompson to colonial Africa, and “Round Midnight” (June 23 and 29), perhaps Mr. Tavernier’s most famous film, starring Dexter Gordon as an alcoholic tenor saxophonist in 1959 Paris.
‘MONTEREY POP’ at IFC Center (through June 20). Monterey Pop, the 1967 musical festival that set the template for Woodstock and provided an early showcase for Jimi Hendrix, the Who, Janis Joplin and Otis Redding, among many others, celebrates its 50th anniversary this year. That means it’s also an occasion to catch D. A. Pennebaker’s newly restored documentary of the event, which includes performances by all of those artists, along with Simon and Garfunkel, the Mamas and the Papas, and Ravi Shankar.
‘SCUM’ at the Metrograph (June 16-21). Alan Clarke originally shot a version of this unsparing exposé of British reform schools for television, but the BBC didn’t air it. The director remade it as a theatrical feature, and if some of the plot seems familiar, the intelligence with which Mr. Clarke dissects the flaws of Britain’s “borstal” system is not. In some ways, the central dynamic is a contrast between brains and brawn: Archer (Mick Ford), an older, quick-witted prisoner, makes a point of stretching the rules as far as bureaucracy will allow, while the newcomer Carlin (a young, barely recognizable Ray Winstone) knows that the way to survive in an environment where even the officials tacitly egg on violence is to be seen as the most ruthless guy there.
SIMIAN VÉRITÉ at Anthology Film Archives (June 16-27). Even die-hard Clint Eastwood fans may wince when reminded that some time between the third and fourth “Dirty Harry” movies, their hero starred in two screwball comedies opposite an orangutan. (The first, “Every Which Way but Loose,” screens Sunday, Wednesday and June 24.) Similarly, admirers of “Belle de Jour” must never forget that Jean-Claude Carrière, Luis Buñuel’s writing partner, collaborated with the director Nagisa Oshima on “Max Mon Amour” (Friday, June 23 and June 25), which stars Charlotte Rampling as a diplomat’s wife who sneaks out for afternoon dalliances — with a chimpanzee. This program, Simian Vérité, also includes Frederick Wiseman’s “Primate” (Sunday and June 27), the Bela Lugosi vehicle “Murders in the Rue Morgue” (Monday and June 26) and George A. Romero’s “Monkey Shines” (Friday, Wednesday and June 24).
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