A STUDY OF AMBITION AND MORALITY TO OPEN THE FILM FESTIVAL
At the moment this is being written I haven't yet seen any of the 26 programs in the 19th New York Film Festival that opens at Lincoln Center Friday night with the English ''Chariots of Fire.'' A quick rundown of this year's festival entries seems to indicate that there are more unknown directors than at any time in the recent past. There are - true - films by Francois Truffaut, Michelangelo Antonioni, Jacques Rivette, Andrzej Wajda, Louis Malle and Eric Rohmer, but most are by new directors or by directors like Maurice Pialat and Wim Wenders, who still have not yet found the audiences they deserve this side of the Atlantic. About most of the entries I am, I suspect, as much in the dark as any other reader of The Times who, last Sunday, studied the festival programs for information about particular films, such as ''The Mystery of Oberwald'' (''Cocteau's play functions simply as the libretto for Antonioni's tonal experiments in film and video color...''). That annual announcement ad is always intimidating, not only because one can never be sure one understands what one is reading (what, for example, does ''a wayward display of idiosyncratic sympathies'' mean?), but because on e knows that, time being what it is, it's impossible to see absolutely everything. But this is what keeps the festiv al alive and why, each year, so many of us scramble to see films by unknown directors with as much eagerness as films by those directors we know and admire.