Our guide to film series and special screenings. All our movie reviews are at nytimes.com/reviews/movies.
‘THE MAGNIFICENT AMBERSONS’ at Village East Cinema (May 31, 7 p.m.). “The Magnificent Ambersons,” Orson Welles’s 1942 feature — his second, after “Citizen Kane” — is one of the most crushing stories in cinema: not because of the movie itself, though it’s extraordinarily moving, but because the studio lopped off Welles’s original ending and shot a rushed, unconvincing coda. Even an untrained eye can spot the moment when the visual pizazz (courtesy of the cinematographer Stanley Cortez) suddenly stops. The missing footage, if ever located, would be an archivist’s holy grail. And despite being compromised, Welles’s adaptation of the Booth Tarkington novel routinely ranks among the greatest movies ever made. The moment when Tim Holt’s character gets his just deserts (“George Amberson Minafer had got his comeuppance. He’d got it three times filled and running over”) features some of Welles’s best voice-over work.
OZU IN COLOR at the Metrograph (May 27-31). Yasujiro Ozu had been directing for three decades before he made his first color film, “Equinox Flower” (Wednesday), in 1958. Its sophisticated, brightly hued compositions only add to the complexity of what, for Ozu, was by then a familiar narrative, that of a father who is reluctant to consent to his more modern-minded daughter’s marriage, which he did not arrange. The series opens with “Good Morning” (Saturday and Sunday), from 1959, in which two brothers push their parents to buy a TV set.
VARDA IN CALIFORNIA at BAM Rose Cinemas (May 31 through June 13) and ‘THE GLEANERS & I’ at IFC Center (May 30, 7 p.m.). The French New Wave director Agnès Varda is still going strong at 88. (Her latest film, “Faces Places,” which she directed with the artist JR, had a warmly received premiere at the Cannes Film Festival last Friday.) But the movies she made in California from the 1960s through the 1980s aren’t frequently revived; this BAM series aims to remedy that by showing five of her films. It will also give a seven-day run to “Model Shop,” directed by Ms. Varda’s husband, Jacques Demy, a 1969 portrait of alienation shot against some of the ugliest industrial landscapes in Los Angeles. Separately, IFC Center will show “The Gleaners & I” (Tuesday), one of Ms. Varda’s most popular films, in which she draws a parallel between herself, as a maker of documentaries, and the “gleaners” seen in a classic Jean-François Millet painting. Kirsten Johnson (“Cameraperson”) will host a Q. and A.