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As nouvelle vague connoisseurs know, there is a clear demarcation between the pre- and post-1967 work of the man who once—and rightfully—called himself Jean-Luc Cinema Godard. This partial retrospective, which doesn’t feature anything especially rare, showcases the earlier, more accessible Godard, including such oft-revived films as Breathless (shown last week), Pierrot le Fou (pictured, Jan. 18 at 6:30 p.m., Jan. 19 at 3:30 p.m.), Alphaville (Jan. 23 at 5:10 p.m., Jan. 26 at 5 p.m.), Masculin-Feminin (Jan. 25 at 4:15 p.m., Jan. 26 at 7 p.m.), and Weekend (Jan. 29 at 5:10 p.m., Jan. 31 at 9:30 p.m., Feb. 2 at 6:30 p.m.). Whether for a first or a 10th time, of course, these ’60s-defining films are worth seeing again; they remain revolutionary in form, subject, and spirit. Still, most of the series’ lesser-known films are equally worthy, including hard-edged political thriller Le Petit Soldat (Jan. 10 at 7 p.m.), and gangster/menage a trois romp Band of Outsiders, which is worth seeing for the opening credits alone (Jan. 23 at 7 p.m., Jan. 24 at 5:10 p.m.). Its musty sexual politics aside, though, the most intoxicating film in the series may be A Woman Is a Woman, Godard’s euphoric attempt to imagine his own romantic travails as an MGM musical (Jan. 29 at 7 p.m., Jan. 31 at 5:10 p.m.). At the Kennedy Center’s American Film Institute Theater. $6.50. (202) 828-4000. (Mark Jenkins)