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.
CAMERA OBTRUSA: THE ACTION DOCUMENTARIES OF KAZUO HARA at the Museum of Modern Art (through June 14). MoMA cites Errol Morris and Michael Moore as fans of this Japanese documentarian; “The Emperor’s Naked Army Marches On” (on Monday), which follows a potentially mad World War II veteran as he seeks to extract information about the deaths of army cohorts in 1945, made Morris’s nonfiction-cinema top 10. It’s hard to top the voyeuristic what-am-I-watching? factor of Hara’s “Extreme Private Eros: Love Song 1974,” which the director and his wife, Sachiko Kobayashi, both of whom are featured in the movie, will introduce on Friday. (It also screens on Monday.) The film is difficult to classify, but it is largely a portrait of Miyuki Takeda, Hara’s ex-wife, as she raises their son and has fraught relationships with a Japanese woman and a male American soldier. She also insults the residents of Okinawa with her pamphleteering and — in the film’s pièce de résistance — gives birth on camera without assistance.
HOME MOVIES: FILMMAKERS DOCUMENT THEIR FAMILIES at Anthology Film Archives (June 6-20). Although the title of this retrospective may conjure images of an uncle fumbling with a camcorder, the home movies here are far from ordinary. Chantal Akerman’s “No Home Movie” (on Saturday and June 16) is at once a portrait of her mother, a Holocaust survivor, and a meditation on exile — the experience, as critics noted upon the film’s release, of having no home. And although Andy Warhol shot “Mrs. Warhol” (on Friday and June 16) in the basement apartment where his mother lived, the movie “casts” her as a former bathing beauty who worked for Mack Sennett, the producer regarded as the king of silent-screen comedy. Other off-kilter family portraits in this series come from, among others, Jean Eustache (whose rarely screened “Numéro Zéro,” about his grandmother, shows on June 13), Stan Brakhage and Joyce Chopra.
[Read about the events that our other critics have chosen for the week ahead.]
NATURAL TRANSGRESSIONS: THE FILMS OF CARLOS REYGADAS at the Museum of the Moving Image (June 8-13). After attracting attention for the heavy-handed allegory and explicit sexuality of “Japón” and “Battle in Heaven” (both showing on Saturday), this Mexican provocateur moved into an unexpectedly serene direction with “Silent Light” (on Sunday), a contemplative tale of extramarital longing in a Mennonite community, and the enigmatically structured, synopsis-resistant “Post Tenebras Lux” (also on Sunday) — all the while never abandoning his magnificent eye for landscapes or offhand surreality. The museum’s retrospective is designed as a lead-in to his latest movie, “Our Time” (on June 13), which stars Reygadas and his wife, the film editor Natalia López, as a couple whose open marriage comes under strain.
OPEN ROADS: NEW ITALIAN CINEMA at Film at Lincoln Center (through June 12). Anyone familiar with the grandiosity and broad comic stylings of Paolo Sorrentino (“The Great Beauty,” “The Young Pope”) knows that “Loro” (on Saturday and Tuesday), his satirical take on the former Italian prime minister Silvio Berlusconi (played by Toni Servillo), won’t be anything like a sober-minded exposé. That’s just one of the notable titles in this week of movies from Italy. In “The Disappearance of My Mother” (on Monday), Beniamino Barrese creates a layered portrait of his mother, Benedetta Barzini, a former Italian supermodel. “A feminist and Marxist who now also teaches, Barzini is a severe, unsparing critic of the commodification and exploitation of the female body by men, which greatly complicates her son’s insistent, at times intrusive gaze,” Manohla Dargis wrote after the film played at Sundance. The series also pays tribute to Bernardo Bertolucci with a screening of his debut feature, “La Commare Secca,” also known as “The Grim Reaper,” on Tuesday.
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