So, this week we’ve talked about Ophuls, Pasolini, Sembene… well, I hate to pile on, but there doesn’t seem to be any way around it: starting today and continuing into mid-December, Anthology Film Archives is spotlighting the career of Jerzy Skolimowski, who emerged in the Polish New Wave of the 60s, and whose peripatetic career also featured stints in the pan-European arthouse and secret English-language mainstream. (And he’s a sometime actor: he’s Naomi Watts’s drunk uncle in Eastern Promises, for instance.) The series kicks off tonight with his first two features, the minimalist Identification Marks: None and Walkover, both of which star the director himself as the aimless, society-traversing protagonist. Upcoming highlights include Le Départ, a comedy with Jean-Paul Leaud; Moonlighting, a 1982 restaging of the previous year’s Solidarity protests in Poland (and their subsequent quashing by the Soviets), starring noted Polish hero Jeremy Irons; and, beginning a weeklong revival next week, Skolimowski’s second English-language film, Deep End, a dark and darkly comic story of adolescent sexual obsession (the moony protag works at a public bathhouse, hence the title). The score is by Cat Stevens and Can, of course.