I am not alone, I am certain, in coming late to the Arnaud Desplechin party poised to jump off this winter. His latest film, A Christmas Tale, already garnered plenty of accolades from those lucky enough to see it at Cannes and/or the New York Film Festival (two takes I dig: GK’s gushing and MK’s lucidity). It played in San Francisco last month, too, at the Clay, as centerpiece of the San Francisco Film Society’s inaugural French Cinema Now program (dig MG’s interview, too). I missed it, on purpose—I was watching Jia Zhang-Ke’s The World across the Bay—because I knew it would be released soon, and would probably be a big deal. Looks like the case; the snowball is gathering speed and size. This election week saw not just something righteous for our country but also, on a decidedly smaller scale (like, minuscule, dude), the start of IFC Center’s current Desplechin retrospective, Every Minute, Four Ideas, as a build-up to next Friday’s New York release of A Christmas Tale. Lucky for me, I got to see two of the other Desplechin films shown at the Clay: his rare debut, the deliciously abrupt La vie des morts (more Maya), and his calling card, perhaps, My Sex Life… or how I got into an argument. Since then I’ve revisited My Sex Life, on Fox Lorber’s abominable DVD release, as well as his 2004 freight-train Kings and Queen. Smart cinephiles that they are over there, the IFC Center has programmed both of these for this weekend, including the possibility of one rich, long, seductive, dark-all-day double bill on Sunday.