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.
THE COMPLETE LONE WOLF AND CUB at Japan Society (Jan. 25-26). After being set up, a former shogun executioner (Tomisaburo Wakayama) strikes out as a roving, freelance assassin. He offers his infant son a choice between a sword and a ball to play with, and the child, too young even to speak, reaches for the shiny weapon — sealing his fate to tag along. Japan Society is screening this run of six films, adapted from a blockbuster manga series and a clear inspiration for Quentin Tarantino’s “Kill Bill,” in marathon form.
EROTIC JOURNEYS: EM(M)ANUELLE & JUST JAECKIN at the Quad Cinema (Jan. 25-Feb. 7). After hosting a series of (mostly) serious-minded X-rated films that expanded the mainstream, the Quad turns to soft-core qua soft-core with the hit 1970s skin flick “Emmanuelle” (starting on Friday) and the movies it spawned. In the original, the title character, played by the Dutch actress Sylvia Kristel, is guided by both men and women toward sexual fulfillment in Thailand, in ways that, to put it mildly, do not pass contemporary standards for gender or cultural sensitivity, or consent. Sequels and knockoffs (some of which omit an “m” in the heroine’s name) follow on the docket, along with other films by the first movie’s director, whose authorial signature — “un film de Just Jaeckin” — has to rank among the most guffaw-worthy credits in screen history.
HOU HSIAO-HSIEN IN THE 21ST CENTURY at the Metrograph (Jan. 25-Feb. 3). Before the 21st century, American champions of this Taiwanese director spent years bemoaning that his films went unreleased in the United States. That streak ended when “Millennium Mambo” (on Friday and Saturday) — a visually rhapsodic, sidelong look at youth and anomie — sneaked into theaters at the end of 2003, two years after its Cannes premiere. The subsequent “Three Times” (on Saturday and Sunday) — which proceeds in three chronologically disordered segments (1966, 1911, 2005) in styles suited to each era — is an ideal introduction to Hou’s work. And his Yasujiro Ozu homage “Café Lumiere” (on Feb. 3 and 4) is one of the greatest films about the paradoxical isolation of city life.