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NYC Weekend Watch is our weekly round-up of repertory offerings.

Bam

Films by Warren Beatty, Mike Judge, and more play in Facing the Future; the restoration of I Heard it Through the Grapevine screens.

Roxy Cinema

Gummo, Love Streams, and Dancer in the Dark play on 35mm, while Francis Ford Coppola’s Tetro screens screens on Saturday and a 16mm puppet program shows Sunday.

Museum of Modern Art

A massive retrospective of Portuguese cinema begins, featuring films by Paulo Rocha and Manoel de Oliveira, among many others.

Museum of the Moving Image

A highlight of the 1969 Directors’ Fortnight includes prints of Oshima’s Death By Hanging and Garrel’s The Virgin’s Bed; a Frank Oz retrospective continues.

Anthology Film Archives

Dreyer’s Ordet plays in “Essential Cinema.”

IFC Center

The black-and-white restoration of Johnny Mnemonic plays, as does a 40th-anniversary restoration of Paris, Texas and Bennett Miller’s The Cruise; The Company of Wolves,...

Věra Chytilová shooting Time Is RelentlessIn Something Different (1963), housewife Vera has had it with her emotionally unavailable husband, exhausting chores, and child-rearing, so she starts an affair. A broken woman, she bursts into sporadic fits of giggling, scaring both men in her life. Prefiguring to some extent Alain Tanner's La salamandre, this laughter lifts the veil over the heroine's existential crisis, one so reluctant to be put into words and yet occasionally susceptible to movie images. Over the almost 50-year span of her career, we've heard Věra Chytilová's laugh so many times that it deserves to be catalogued. Daisies (1966) gave the censors plenty of reasons to ban it, but the derisive cackling of two girls at war with common sense would've sufficed. You can hear the sound as early as her student film Caterwauling (1960), made at the Film and TV School of the Academy of Performing Arts in Prague (Famu). There,...