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3 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 nytimes.com/reviews/movies.

FLAT IS BEAUTIFUL: THE STRANGE CASE OF PIXELVISION at the Film Society of Lincoln Center (Aug. 10-16). This retrospective celebrates the legacy of Fisher-Price’s PXL 2000, a camcorder that proved a bust with children but added a fun new tool to the palettes of experimental filmmakers, who prized it for its lo-fi, mosaicked imagery. The program includes shorts by Sadie Benning (on Friday); multiple works by Michael Almereyda, including his 1995 black-and-white vampire movie “Nadja” (screening on Sunday), in which Pixelvision, interspersed with film, augments the eerie ambience; and Richard Linklater’s “Slacker” (on Thursday), which features a Pixelvision sequence.
212-875-5601, filmlinc.org

MARTIN SCORSESE PRESENTS REPUBLIC REDISCOVERED: NEW RESTORATIONS FROM PARAMOUNT PICTURES, PART 2 at the Museum of Modern Art (through Aug. 23). In the second half of one of the best series of 2018 so far, MoMA puts a spotlight on innovative and in many cases forgotten treasures from Republic Pictures; Mr. Scorsese, a lifelong fan of the B-movie studio, made all the selections. Some are revelatory from a historical perspective. The 1940 drama “Three Faces West” (on Sunday and Aug. 20) makes a compassionate case for the social contract and for European refugees’ role in America; directed by Bernard Vorhaus, who was blacklisted in the ’50s, the film tells the story of a celebrated Austrian physician (Charles Coburn) and his daughter (Sigrid Gurie), who, having escaped the war, find themselves providing care for the residents of a sleepy, drought-ravaged town. (John Wayne plays a community leader.) Other highlights include “Fair Wind to Java” (on Saturday and Aug. 19), for those who’ve always longed to see Fred MacMurray as a brawling seaman; Frank Borzage’s poetic noir “Moonrise” (on Friday); and features from Allan Dwan, John H. Auer and Anthony Mann.
212-708-9400, moma.org

WOMEN AT WORK: RADICAL CREATIVITY at BAM Rose Cinemas (Aug. 10-16). In March, BAM inaugurated a recurring program designed to examine the onscreen depictions of women in relation to work. The first part dealt with labor activism; this segment concentrates more loosely on what the theater is calling “radical creativity” — movies “by and about women who have refused to be second-guessed or silenced,” as the guest curator, Dessane Lopez Cassell, has put it in press materials. The selections include Kathleen Collins’s recently resurfaced “Losing Ground” (on Friday; the screening will be followed by a Q. and A. with Nina Lorez Collins, the director’s daughter); the Turkish director Deniz Gamze Erguven’s sibling coming-of-age story “Mustang” (on Sunday); and “Persepolis” (also on Sunday), in which Marjane Satrapi uses animation to tell her story of growing up at the time of the Iranian revolution.
718-636-4100, bam.org

Times Talks

ROSE BYRNE, CHRIS O’DOWD AND JESSE PERETZ at Cadillac House (Aug. 15, 8 p.m.). Logan Hill, a veteran contributor to The New York Times, talks with the actors Rose Byrne and Chris O’Dowd, stars of “Juliet, Naked,” and the film’s director, Jesse Peretz. In this adaptation of Nick Hornby’s novel, Ms. Byrne plays Annie, who is drawn into an unlikely trans-Atlantic romance with Tucker Crowe, a singer-songwriter past his prime who is worshiped by Annie’s boyfriend (Mr. O’Dowd). Hear Ms. Byrne, Mr. O’Dowd and Mr. Peretz riff on the film’s themes of screwball love and indie rock obsession.

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