4 Film Series to Catch in N.Y.C. This Weekend

Our guide to film series and special screenings happening this weekend and in the week ahead. All our movie reviews are at

CUTTING CLASS at the Alamo Drafthouse (Sept. 28-Oct. 13). As a tie-in with the Oct. 11 release of Bong Joon-ho’s “Parasite,” a stinging and darkly funny satire on class disparities in South Korea that won the top prize at Cannes in May, the Drafthouse is showcasing other films that deal with vengeance across social strata. The selections include Claude Chabrol’s “La Cérémonie” (on Saturday), with Isabelle Huppert and Sandrine Bonnaire playing characters based on Christine and Léa Papin, real-life sibling maids who killed their employers; and Kim Ki-young’s “The Housemaid” (on Oct. 13), a South Korean classic in its own right, in which a new housekeeper (Lee Eun-shim) brings temptation and terror to a music teacher’s household.

FIVE BY FORSYTH at the Museum of the Moving Image (Sept. 27-Oct. 6). The Scottish director Bill Forsyth has fallen off the radar of late — his most recent feature was 20 years ago — but in the 1980s he was a critical darling. (In 1983 in The New York Times, Janet Maslin wrote of his “Local Hero,” showing on Sunday: “Genuine fairy tales are rare; so is film-making that is thoroughly original in an unobtrusive way.”) This retrospective is timed to a new restoration of “Gregory’s Girl” that opens at Film Forum on Oct. 4. The sleeper may be “Breaking In” (on Saturday), scripted by John Sayles, with Burt Reynolds as an experienced thief who takes a protégé (Casey Siemaszko) after the two separately raid the same house.

[Read about the events that our other critics have chosen for the week ahead.]

FRITZ LANG’S INDIAN EPIC ‘THE TIGER OF ESCHNAPUR’ AND ‘THE INDIAN TOMB’ at Film Forum (Sept. 27-Oct. 3). A sweeping adventure filled with tigers, snakes, romance and the camp-connoisseur favorite Debra Paget, these two movies marked Lang’s return to German film production after more than two decades in Hollywood, although both were shot and set in India. Released in the United States in 1960 as a condensed 92-minute version, the films are showing here as separate features, which means that more than three hours of expressionistic color and wild plot developments await.

NEW YORK FILM FESTIVAL at Film at Lincoln Center (Sept. 27-Oct. 13). The world premiere of Martin Scorsese’s “The Irishman” and other main-slate screenings may nab the headlines, but you can spend the entirety of this festival at the sidebar programs and come away sated — not least because this year’s revivals include a 25th-anniversary restoration of Bela Tarr’s “Satantango” (on Sunday), a film that runs seven and a half hours. For the festival’s 57th edition, the big retrospective celebrates the 100th anniversary of the American Society of Cinematographers. In the first week, the members represented include the innovative Chinese-American cinematographer James Wong Howe, with “The Hard Way” (on Saturday), a melodrama in which Ida Lupino refuses to let anyone impede her sister’s rising stage career, and the film noir master John Alton, with the Los Angeles police procedural “He Walked by Night” (on Tuesday). In the annual Spotlight on Documentary lineup, Sergei Loznitsa offers a sardonic found-footage look at the pageantry surrounding Statlin’s death in “State Funeral” (on Saturday and Sunday), while in “Free Time” (also on Saturday and Sunday), the city symphonist Manny Kirchheimer makes a cine-collage out of scenes of downtime in New York shot from 1958 to 1960, adding a gently off-kilter sound design of classical music, jazz and imperfectly synced noise.

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