Movies, If That's What You're Into

• Thieves Like Us (pictured), Robert Altman's pearly, washed out, deromanticized and nostalgic (like the fuzz from a radio on a screened-in porch) Depression-era bank robber love story, is back at Film Forum for a week.
• For that matter, Film Forum's Godard's 60s program is now on one of the most radically policitized works of his first decade, the '68 uprising-foreshadowing La Chinoise. It's a fine companion piece to Chris Marker's epic, mercurial history of 60s leftist rebellions, A Grin Without a Cat, which closes out the Walter Reade's 1968: An International Perspective.
• For people who like movies that are just a couple people talking, preferably in nature, there's the minimalist Paraguayan Hammock (two old Paraguayans sit on their hammock; there's a great deal of iceberg-principled tension from the 1930s raging beyond their gates, and their son off at war), beginning a weeklong run at Anthology.
• MoMA's Jazz Score series is currently reviving the Max Roach-scored Dilemma, a 1962 Nadine Gordimer adaptation set in apartheid-era South Africa. It's directed by the Dane Henning Carlsen, who a few years later would helm the work for which he's best known here, an adaptation of Knut Hamsun's Hunger... the incongruity of a guy adapting Nadine Gordimer and Knut Hamsun reminds me of a trivia question that I've actually just made up: which director adapted the most Nobel laureates? Off the top of my head I'm thinking Victor Fleming (Steinbeck and Kipling is two and uncredited work on The Good Earth puts him past Carlsen and Luchin Visconti, who made The Stranger and Death In Venice), but that can't possibly be right. Enlighten me, please, and for our purposes Faulkner's credited and uncredited screenplays don't count because then things just get ferociously complicated.