Our guide to film series and special screenings happening this weekend and in the week ahead. All our movie reviews are at nytimes.com/reviews/movies.
‘THE CRANES ARE FLYING’ at Film Forum (July 12-18). When Boris (Aleksey Batalov), a young man in Moscow, volunteers to serve in World War II, his sweetheart, Veronika, known to him as Squirrel (Tatiana Samoilova), is separated from him without even a proper send-off. This feature from the Soviet director Mikhail Kalatozov won the top prize at Cannes in 1958, and while its camera logistics aren’t quite as fancy as those in as the subsequent “I Am Cuba,” it does feature one of the most haunting combat deaths ever captured on film, and and there is a universal quality to its depiction of a romance enduring through the compromises of war — as Veronika contends with bombings and Boris’s self-interested cousin (Aleksandr Shvorin).
[Read about the events that our other critics have chosen for the week ahead.]
IN MEMORIAM: CAROLEE SCHNEEMANN at Anthology Film Archives (July 15, 7:30 p.m.). The theater pays tribute to the feminist performance artist and filmmaker, who died in March, with a program that in some ways combines filmmaking and performance — at least to the extent that a dual-projector screening of “Kitch’s Last Meal,” an autobiographical work in which the loss of Schneemann’s cat serves as just one entry point, counts as a performance. Also screening is “Infinity Kisses — The Movie,” which Holland Cotter wrote may be Schneemann’s “most unguardedly sensual work.”
SECRET HISTORIES: THE FILMS OF KEVIN RAFFERTY & FRIENDS at the Metrograph (opens on July 12). While Rafferty is best known for his found-footage assemblages (“The Atomic Cafe,” on Saturday, examines the United States’ history as a nuclear power through a surreal compilation of news clips, educational films and commercials), his work reaches beyond these confines. “Harvard Beats Yale 29-29” (on Sunday) gathers a roster of graying former college football players to recount a mythic 1968 game in which Harvard “beat” Yale (according to a Harvard Crimson headline) by tying the score. But as the presidential campaign kicks into gear, the must-see here is “Feed,” which Rafferty, who made the film with the journalist James Ridgeway, will introduce on Friday. Released one month before the November 1992 election, it draws on live-feed footage from that year’s New Hampshire primaries — specifically moments when the candidates are unaware (or seem to be) that the cameras are rolling. Janet Maslin called it “as cruel a film as you may ever see,” but today it mostly inspires affection for a lower-boil political climate. Ross Perot, who died on Tuesday, appears briefly.
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