Summer with Monika (1953) captures the all-consuming and fervid emotions of young love with director Ingmar Bergman’s sharp cinematic eye. Adapted from Per Anders Fogelström’s novel of the same name, the risqué film gained Bergman global recognition. For one hour and 37 minutes, it follows a femme fatale of the Swedish seaside, Monika (Harriet Andersson), and her paramour, Harry (Lars Ekborg), as they fall recklessly in love, exchanging the drudgery of middle-class city life for a bohemian existence on a boat. When summer ends, they return to Stockholm, where reality sets in and their romantic façade crumbles into misery. (apple.com) —Eve Eismann

If you see the abbreviation A.I. and immediately, without the aid of Gemini, change it to OY!, then you’ll find comfort in Robert Wright’s latest book, The God Test. He has been writing about artificial intelligence since the early 1980s and argues persuasively that its advance into our daily lives is part of the evolution of the human brain and its search for networks, and that what we now see developing is a kind of global brain, its neurons a combination of human and A.I. This is destined to be the greatest of historical developments, and it is crucial we get ahead of the technology so it does not devour us. Transparency, communication, controlled experimentation: all are needed if we are to reckon with a force such as A.I., and Wright’s optimism that the world will act collectively out of its own self-interest for survival is contagious. Wright is a highly engaging writer with a wry wit, and The God Test is a pleasure to read. ($30, simonandschuster.com) —Jim Kelly

Color is back. Not in the cautious “accent pillow” sense, but in the full-fledged, English-decorator-gone-rogue way. Still, before impulse-buying a chartreuse sofa or lacquering an entire room oxblood, consider Thuma’s new collaboration with Buchanan Studio. The minimalist bed brand, long associated with restrained neutrals and quietly competent adulthood, has partnered with the London design firm known for its gloriously unapologetic stripes and velvets. Thuma’s famously sensible platform beds now arrive upholstered in green or pink velvet and stripes and look like they belong in a David Hicks guest room. The decorative pillows are particularly dangerous because they have the sort of charm that convinces otherwise rational adults that they, too, should start decorating with pink. Available now, for anyone suddenly looking to make their bedroom less “rental” and more “English-country-house fantasy.” (thuma.co) —Jennifer Noyes

Most of the real-life restaurants that appear in films and television series about Paris are so resolutely mediocre. This artful ignorance of the city’s dining scene means that sometimes a wonderful restaurant ends up hiding in plain sight, such as the delightful L’Escale, at the foot of the Pont de la Tournelle, which connects the Île Saint-Louis to the Latin Quarter. This retro café-brasserie includes a corner bar, tiled floor, and an Art Moderne wall clock over a magazine rack brimming with periodicals for customers to enjoy with a kir or coffee. It was recently purchased by Dimitri Theuriau, a Paris set designer and cinema art director, who had the good sense to leave it untouched. Open daily from eight a.m. to two a.m., this is exactly the kind of bistrot de quartier (local hang) Parisians adore. And since its charm comes mostly from its authenticity, it’s likely this place will be spared from the Emily in Paris team. (l-escale-restaurant.com) —Alexander Lobrano

Knicks tickets or luxury two-ply cotton pajamas? I went with the latter for an early Father’s Day gift this year, which, depending on your priorities, may actually be the better option. Since 1870, Rome’s Schostal has been outfitting discerning men in everything from pajamas to skivvies, all made in Italy and beloved by the likes of Wes Anderson and Harry Styles. Their sleepwear is so cozy, it’ll have any dad happy to be swapping courtside for the couch. (schostaloriginals.com) —Catherine Scott

Loie Hollowell’s work exists somewhere between Georgia O’Keeffe and Hilma af Klint, with perhaps a Robert Irwin–esque sense of light. Born in California and now based in New York, Hollowell creates large-scale geometric abstractions that are deeply compelling explorations of motherhood, sexuality, and spirituality. “Each painting by Loie Hollowell is a story brought into being through sculptured sensual forms, poised compositions, illuminated surfaces, and iridescent colors,” writes art curator Emma Enderby in the introduction to Plumb Line, an absolutely essential publication from Pace Gallery’s 2019 solo Hollowell exhibition of the same name. Featuring reproductions and installation images of the nine paintings featured in the show, along with poems by Iris Cushing and die-cut colored pages throughout, it’s one of the more beautiful artist books I’ve come across in recent memory. ($55, pacegallery.com) —Spike Carter