This coronavirus edition of movies to shelter with offers a reminder of a free Black History Month film discussion Tuesday; two entries arriving to stream at the Brattle; and two tales of couples facing thrills and trauma.

This is homestyle comfort in a container, and it more rightfully belongs at the center of a meal than as its prologue.

The films of Chloé Zhao are something else – a unique blend of narrative fiction and docudrama reenactments in which real folks play slightly fictionalized versions of themselves, if not just themselves. This look at modern nomads adds top-tier Frances McDormand to the cast list.

This coronavirus edition of movies to shelter with includes three for Valentine’s Day; Local and virtual fare that include a virtual DocYard screening and Q&A with the makers of “The American Sector”; and films from “Minari” and “Happy Cleaners” to “The Mauritanian” and Robin Wright’s “Land.”

Shaka King’s rewind to 1968 is blessed with the thespian thunder and lightning punch of Daniel Kaluuya and LaKeith Stanfield playing 21-year-old Black Panther leader Fred Hampton and Bill O’Neal, Hampton’s security adviser – who also happened to be an FBI informant.

The big game is over and Craigie On Main’s Super Bowl wings are gone, but the regular menu still offers a renowned burger, revolving family meals and the red chile-rubbed whole roasted chicken for two, as well as fried chicken popups and Valentine’s Day options.

To celebrate Black History Month, Cambridge Day is partnering with the Cambridge Center for Adult Education and Roxbury International Film Festival to sponsor a free Feb. 23 virtual discussion focused around three films chronicling different aspects of the Black experience in America.

This coronavirus edition of movies to shelter with includes a bunch from this year’s (virtual) Boston Science-Fiction Film Festival; “Edo Avant-Garde” at the Harvard Art Museums, three intriguing selections from The Brattle and a look back at Christopher Plummer and Hal Holbrook.

“Malcom & Marie” doesn’t really move the conversation on race, relations or art. It’s two great performances on an alluring stage, but nothing feels truly at risk and nothing life-altering is revealed.

Mike Cahill, the somber indie voice behind “Another Earth” (2011) where alternate realities coincided, overlapped and collided, retools the concept here with a bigger palette and broader ambition.