More than 25 movies rescued from the ravages of time and neglect will be featured in this year’s edition of “To Save and Project,” the Museum of Modern Art’s annual festival of recently preserved films. Now in its seventh year, the program began on Saturday with a new print of John Cassavetes’s devastating 1974 study of emotional instability, “A Woman Under the Influence” (running through Friday), one of several entries this year restored in whole or in part through the good offices of the Film Foundation.


Courtesy of the Museum of Modern Art
Peter Falk and Gena Rowlands in “A Woman Under the Influence” (1974), part of MoMA’s “To Save and Project” festival.

With money provided by the fashion house Gucci and other sources, the Film Foundation, a nonprofit group founded in 1990 by Martin Scorsese and other leading American directors, is also behind the restoration of Antonioni’s spare, modernist 1955 “Le Amiche” (“The Girlfriends,” screening Thursday), based on a novella by Cesare Pavese. The foundation is also responsible for the reclaimed Technicolor magnificence of Visconti’s extravagant period romance “Senso” (1954), with Farley Granger and Alida Valli. “Senso” screens on Monday and Wednesday.

A strong documentary component in this year’s lineup includes MoMA’s own restoration of Robert J. Flaherty’s pioneering 1922 nature film, “Nanook of the North” (showing Saturday), now with its original color tinting intact. Documentaries of a more personal nature are featured in “Mama, Don’t Take My Kodachrome Away!” (Nov. 2 and 9), a program of home movies featuring, among other things, intimate glimpses at the lives of Alfred Hitchcock and Joan Crawford, as well as Wallace Kelly’s remarkable “Our Day,” an artfully rendered “day in the life” of a middle-class family in Kentucky, around 1938.

Hollywood’s in-house preservation efforts are represented by four films reclaimed by Sony Pictures Repertory, including Bob Rafelson’s 1972 “King of Marvin Gardens” (Friday and Sunday) and Frank Capra’s pre-Code melodrama “Forbidden” (1932), with Barbara Stanwyck (Saturday and next Monday).

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