Our guide to film series and special screenings. All our movie reviews are at nytimes.com/reviews/movies.
FASHION IN FILM at the Alamo Drafthouse Downtown Brooklyn (Jan. 7-29) and Fashion Forward Documentaries at the Museum of Modern Art (Jan. 8-18). On Thursday, the Alamo Drafthouse will be the second theater in New York — after AMC Loews Lincoln Square 13 — to open a 70-millimeter blowup of “Phantom Thread,” Paul Thomas Anderson’s portrait of the pas de deux between an intransigent London fashion designer (Daniel Day-Lewis) and his latest muse (Vicky Krieps). And while the blowup is an optimal way to take in the film’s analog cinematography, the theater has also programmed a sidebar of fashion movies, including “Funny Face” (Sunday), “The Devil Wears Prada” (Thursday), “Zoolander” (Jan. 22) and “The Bitter Tears of Petra von Kant” (Jan. 28). The last, like “Phantom Thread,” is a lacerating portrait of the wounds of love. A borough away, in a separate series opening Monday, the Museum of Modern Art will screen fashion-related documentaries in a companion series to its current exhibition “Items: Is Fashion Modern?”
FIRST LOOK 2018 at the Museum of the Moving Image (Jan. 5-15). The museum’s annual series of forward-thinking new cinema opens Friday with “PROTOTYPE,” an experimental 3-D feature from the Toronto-based filmmaker Blake Williams. Using photographs from Galveston, Tex., in 1900, when a hurricane ravaged the city, as a jumping-off point, the movie unleashes a barrage of abstract imagery that at times resembles what might happen if you crossed the early cinematic device the Kinetoscope with a tube television. As ever, the lineup has a global scope. The first weekend will take viewers to Norway (“Tongue Cutters,” Saturday) and China (“Last Days in Shibati,” Sunday), among other destinations.
THE WAY I SEE IT: DIRECTORS’ CUTS at the Quad Cinema (Jan. 5-18). Gratifying and maddening, directors’ cuts can restore filmmakers’ true intentions or muddy the waters on which version of a movie is definitive. A case in point might be “Apocalypse Now Redux” (Sunday and Tuesday). Revisiting his influential 1979 Vietnam War epic, Francis Ford Coppola dropped in a lengthy sequence set at a French plantation that divided critics; some felt it disturbed the film’s rhythm, while others praised the way it deepened the story’s colonial context. When Michael Cimino’s “Heaven’s Gate” (Thursday and Jan. 15) returned to theaters more than three decades after its 1980 premiere at a mostly full length, a brightened color palette prompted debate. “This may be a restoration, but it also appears to be an act of directorial revisionism,” Manohla Dargis wrote in The New York Times in 2013.