Our guide to film series and special screenings. All our movie reviews are at nytimes.com/reviews/movies.
AKI KAURISMAKI at Film Forum (Nov. 24-30). The deadpan Finnish director Aki Kaurismaki returns to form in “The Other Side of Hope,” opening Dec. 1, so now is the perfect time to catch up with his signature combination of the droll and the dour. “The Match Factory Girl” (Monday and Wednesday), starring the Kaurismaki regular Kati Outinen as the title character, is a singularly poker-faced revenge story, while in “The Man Without a Past” (Friday, Tuesday and Wednesday), one of Mr. Kaurismaki’s most purely delightful efforts, Markku Peltola plays a metal worker experiencing amnesia, an affliction that affords him a fresh start. “It is at once artful and unpretentious, sophisticated and completely accessible, sure of its own authority and generous toward characters and audience alike — a movie whose intended public is the human race,” A. O. Scott wrote when reviewing the film in 2002.
‘LA BELLE NOISEUSE’ at the Quad Cinema (Nov. 24-30). In such films as “L’Amour Fou” (1968) and “Céline and Julie Go Boating” (1974), the great French director Jacques Rivette suggested a link between madness and the creative process. His newly restored “La Belle Noiseuse,” which won the Grand Jury Prize at Cannes in 1991, pivots on the tense push-pull dynamic between a painter (Michel Piccoli) and his model (Emmanuelle Béart) as they embark on the creation of his would-be masterpiece. At four hours, it is not even the longest feature showing at the Quad this week. That would be “1900” (Friday), which runs more than five hours and is screening in a program of movies that Bernardo Bertolucci made before “The Last Emperor,” from 1987.
‘THE NON-ACTOR’ at the Film Society of Lincoln Center (Nov. 24 through Dec. 10). The stage often requires actors to appear nightly, but film has considerably more flexibility in working with amateur performers — and some directors have even sought them out. The Film Society will present a fascinating and varied history of films that make stars out of nonactors, whether it’s Anne Wiazemsky (in her first role) and the donkey in Robert Bresson’s “Au Hasard Balthazar” (Saturday and Tuesday); a real-life impostor who re-enacts his con in Abbas Kiarostami’s “Close-Up” (Saturday and Dec. 5); downtrodden Lisbon residents in Pedro Costa’s “Colossal Youth” (Dec. 10); or even simply the nonprofessional casts of landmark urban indies like Shirley Clarke’s “The Cool World” (Dec. 1 and 5) and Kent Mackenzie’s “The Exiles” (Wednesday and Dec. 1).
Because of an editing error, the listing for “La Belle Noiseuse” at the Quad Cinema mis-stated the year “The Last Emperor” was released. It was in 1987, not 1986.