Wondering what else is in theaters this weekend? Here are four films recommended by The New York Sun’s critics that you can still catch around town.

BAMAKO
Unrated, 115 minutes

“Bamako,” the new film by the highly regarded Mali-based director Abderrahmane Sissako, is a work of fantasy, but not of the escapist variety. Set in the sprawling courtyard of a Malian home, the film stages a mock trial of global financial institutions for crimes against the nations of Africa. But instead of staging a courtroom drama, Mr. Sissako plants the proceedings in the midst of villagers going about their business. A desultory pace and a floating perspective keep the film from traveling along a recognizable path or building to pat crescendos.

Juxtaposition is the movie’s signature move, and the coupling of global and local is more eloquent, enduring, and touching than the speeches at the trial. More than one day of the begins with a singer (Aïssa Maïga), on her way out, stopping in front of the court for a guard to lace up her dress. This domestic moment, at once intimate and mundane, sets regular lives alongside the tectonic economic shifts engineered by institutions such as the World Bank that are condemned in the ongoing speeches.

Nicolas Rapold (February 14)

THE LIVES OF OTHERS
R, 137 minutes

Captain Wiesler (Ulrich Mühe) is a model member of the East German stasi, a skilled interrogator doing his brutal business. He is a true believer, and, yet, even in the early stages of “The Lives of Others,” there are hints that all is not well. He is hunched, buttoned-up, withdrawn, his demeanor as much captive as guard.

The film tells the story of what happens when, at the request of a government minister, Captain Wiesler puts famous playwright Georg Dreyman (Sebastian Koch) under close surveillance as someone who may be disloyal to the republic. Eventually, Wiesler discovers that the politician’s real motive is sexual rather than ideological. He has his eyes on Dreyman’s girlfriend (nicely played by Martina Gedeck) and wants Dreyman out of the way. And that’s not the most important thing that our Stasi officer discovers. As (courtesy of bugs installed in the playwright’s apartment) he sits listening day after day to the minutiae of Dreyman’s life, the captain begins to find out some truths both about the evil of the regime he has served so loyally and, ultimately, about his own capacity for good.

Andrew Stuttaford (February 9)

SERAPHIM FALLS
PG-13, 99 minutes

Some will see the new Civil Warera drama “Seraphim Falls” as a tale of vengeance and hatred. That it surely is, but others will see something more profound churning away underneath — nothing short of a metaphor for the human condition and a contemplation of its utter insignificance.

Carver (Liam Neeson) is a horseriding, hat-wearing gang leader with a handful of gun-toting thugs riding alongside. We meet him as bullets are being fired and follow him as he chases his prey — through day and night, snow and desert. He is vengeance personified, willing to sacrifice sleep and food, not to mention the lives of his cohorts, in his insatiable quest for blood. Set in his sights is Gideon (Pierce Brosnan), a resourceful man whose legs never seem to stop moving and whose brain never stops thinking. He’s not just the perfect adversary; in several ways, he’s a superior one.

S. James Snyder (January 26)

REGULAR LOVERS
Unrated, 178 minutes

Anyone besotted with the allure of French cinema in the late 1960s will take to “Regular Lovers” like refined absinthe. Shot in 2004 and shown at the 2005 New York Film Festival, the film is celebrated French director Philippe Garrel’s remembrance of revolutions past — or, rather, an autobiographical flashback to the days and weeks after the failed populist uprisings in the Paris of May 1968.

Mr. Garrel’s son, François, plays a 20-year-old poet who evades the military draft and spends the rest of the film in a philosophical drift. The title alludes to his relationship to Lilie ( Clotilde Hesme), a beautiful, slightly older sculptress who abides as an emotional focus — a prism through which to observe François and his circle as they grapple with their collective spiritual hangover.

The film gloriously enmeshes the viewer in the simple gorgeousness of high-contrast black-and-white cinematography. There’s a rapturous gleam in the way halfmoon slivers of light melt from faces into the charcoal darkness captured by the cinematographer, William Lubtchansky.

Steve Dollar (January 19)