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.

FILM COMMENT SELECTS at the Film Society of Lincoln Center (through Feb. 10). Film Comment magazine (whose editor in chief, Nicolas Rapold, has contributed to The New York Times) showcases some of its editors’ recent favorites, drawing on both contemporary international cinema and rediscoveries from the past. That second group includes “The Lincoln Cycle” (on Saturday), a series of shorts from 1917 and 1918 starring the actor and producer Benjamin Chapin as the 16th president; Edward Dmytryk’s 1959 western “Warlock” (on Sunday), with Henry Fonda and Richard Widmark; and Jerry Schatzberg’s 1980 Willie Nelson vehicle “Honeysuckle Rose” (on Saturday), shot by the incomparable Robby Müller, who died last year.
212-875-5601, filmlinc.org

THE GOLDBLUM VARIATIONS at the Quad Cinema (Feb. 8-28). Jeff Goldblum may be one of our most recognizable stars, but he’s also one of the most protean — he even fused his molecular structure with an insect’s (“The Fly,” showing on Friday and Sunday, and on Feb. 16 and 19). The Quad’s series strikes a balance between Goldblum’s early, Waldo-like appearances in large ensembles (he turns up as a pretentious aspiring actor in “Next Stop, Greenwich Village,” screening on Sunday and Feb. 17) and his more front-and-center roles (as the skeptic Ian Malcolm in “Jurassic Park,” showing on Sunday and Feb. 20 and 25). The retrospective precedes a run of Joan Micklin Silver’s 1977 film about a Boston newspaper, “Between the Lines,” starting on Feb. 22, in which Goldblum shares the screen with many other soon-to-be-familiar faces (John Heard, Lindsay Crouse, Bruno Kirby).
212-255-2243, quadcinema.com

[Read about the events that our other critics have chosen for the week ahead.]

POETS OF PANDAEMONIUM: THE CINEMA OF DEREK JARMAN AND HUMPHREY JENNINGS at the Museum of the Moving Image (Feb. 8-17). Each screening in this series pairs one film by Jennings (1907-50) with one film by Jarman (1942-94), suggesting an unlikely aesthetic kinship between two British filmmakers working a generation apart but connected by their poetic sensibilities and interest in experimentation and social critique. Jarman was born the year that Jennings made “Listen to Britain,” a patriotic 20-minute free-form documentary depicting scenes of daily life during World War II. It’s showing (on Friday) with Jarman’s “Blue,” which the filmmaker worked on while he was losing his eyesight; he died of complications from AIDS in 1994 shortly after the film debuted. The feature, which consists of a screen of solid blue linked with an extraordinarily layered soundtrack of voices and music, asks to be listened to in a very different sense.
718-784-0077, movingimage.us