New York Film Festival
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New York Film Festival Reveals Main Slate for 61st Edition
Today, Film at Lincoln Center unveils the Main Slate lineup for the 61st New York Film Festival, taking place from September 29 through October 15. This comes after previous announcements concerning the festival’s 2023 gala titles, with Todd Haynes’s May December opening this year’s NYFF, Sofia Coppola’s Priscilla as the centerpiece selection and closing with Michael Mann’s Ferrari. “The unsettled state of the industry is an unavoidable talking point these days, but my hope is that our festival, as it has done through its 61-year history, will serve as a reminder that the art of cinema is in robust health,” […]
by Natalia Keogan on Aug 8, 2023 -
Todd Haynes’s May December Will Open the 61st New York Film Festival
Film at Lincoln Center has announced that the North American premiere of Todd Haynes’s May December will open the 61st edition of the New York Film Festival, to take place from September 29 through October 13. The rest of the 2023 lineup will be announced at a later date. “We are all so proud and moved to have been invited to open the New York Film Festival with the North American premiere of May December,” said Haynes in a press release. “It is a festival that plays a role in my work and life like no other in the world, since […]
by Filmmaker Staff on Jul 11, 2023 -
14 Films (and Other Recommendations) at the 60th New York Film Festival
With the opening night of the 60th New York Film Festival upon us, Filmmaker would like to recommend 14 titles to catch during the 17-day engagement, which runs from September 30 through October 16 in-person at Film at Lincoln Center. Over the course of our previous festival coverage from this year—including Sundance, Cannes, Venice and TIFF—many of these films have been featured on our site in critical dispatches and reviews. Below, we share links and excerpts from these director interviews and festival dispatches, highlighting Jerzy Skolimowski’s Eo, Véréna Paravel and Lucien Castaing-Taylor’s De Humani Corporis Fabrica, Kelly Reichardt’s Showing Up […]
by Scott Macaulay on Sep 30, 2022 -
NYFF 2021 Critic’s Notebook: Benedetta, Il buco
Given what it took to arrive back at this point, anyone who introduced the first press and industry screening of this year’s New York Film Festival would have gotten a nice round of applause—I too am excited to be back at the Walter Reade Theater, my favorite NYC auditorium on a sheer projection quality/screen size/audio fidelity basis. But all politics is local, and NYFF’s significance relative to the larger festival landscape shouldn’t obscure the specific context of this year’s edition. With its union chapter recognized, Film at Lincoln Center’s staff are now attempting to negotiate and ratify a contract. The […]
by Vadim Rizov on Sep 24, 2021 -
NYFF 2019: Bacurau, Varda by Agnès and The Irishman
A number of cinematic styles, narrative modes, and political agendas collide in Bacurau, one of two South American films on NYFF’s Main Slate this year. Urgent, yet vague enough to feel timeless, the film depicts a form of unhinged white supremacy in the outback of northern Brazil. We’re told up top, quite ominously, that Bacurau takes place “a few years from now,” as if to suggest that the wholly irrational racism herein is just around the corner. An angry movie, at once frightening and funny, it’s bound to rattle viewers aesthetically, politically, or both. Bacurau, a fictional town, is already […]
by Soheil Rezayazdi on Oct 9, 2019 -
“We Didn’t Try to Colonize the Boy in Making the Film”: The Dardenne Brothers on Young Ahmed
For 20 years running, the films of Jean-Pierre and Luc Dardenne have confronted a single fundamental facet of modern life: class. From their breakout La Promesse (1996) to The Unknown Girl (2016), the messy tangle of money, employment, and morality has defined their work. The brothers take a hard turn, in subject if not style, with Young Ahmed. The film debuted at Cannes, like their previous seven features, where it won the Best Director prize earlier this year. Despite that honor–which they won over Almodóvar, Tarantino, and Malick among other heavyweights–the film has earned the harshest reviews of the Dardennes’ career. […]
by Soheil Rezayazdi on Oct 4, 2019 -
NYFF 2019: Oh Mercy!, Synonyms
Arnaud Desplechin’s returned to his hometown onscreen many times: “I still have to go back in my tracks, as a malediction—not as a dream, but as a curse,” he’s said of Roubaix, where My Sex Life and My Golden Years‘ protagonist stand-in Paul Dédalus hails from and where A Christmas Tale unfolds. Desplechin’s also shot digitally before, but this is the first time he’s ever aggressively leaned into it: like Tale, Oh Mercy! also starts during the holiday season, but—opening strings of Christmas lights over city streets aside—the dominant colors aren’t red and green but the familiar digital color-correction staples of orange and blue. […]
by Vadim Rizov on Oct 3, 2019 -
NYFF 2019: Vitalina Varela, Fire Will Come
Vitalina Varela is a luxuriantly claustrophobic staging of a story Pedro Costa’s title subject, playing herself, first orally recounted in 2014’s Horse Money. The world Costa constructs around her is, initially, an endless night—daylight is, at best, the barest suggestive sliver peeking in from outside. As the narrative unfolds, more sunlight penetrates interiors, but a full radiant glare seems, at best, a hypothetical perk for people with more money, and in the very final-stretch shots in exterior day, colors have been graded down enough where the effect isn’t overwhelming but mutedly in keeping. There isn’t a pixel Costa hasn’t accounted for in his […]
by Vadim Rizov on Oct 1, 2019 -
NYFF 2019 Announces Main Slate Titles
NYFF has announced the main slate for this year’s edition, set to run from September 27 to October 13. In addition to the previously announced opening night (Martin Scorsese’s The Irishman), centerpiece (Noah Baumbach’s Marriage Story) and closing night screenings (Edward Norton’s Motherless Brooklyn), 23 titles have been announced. In addition to expected titles from established auteurs including Pedro Almodóvar, Kelly Reichardt, the Dardennes brothers, Arnaud Desplechin and Bong Joon-ho’s Palme d’Or-winning Parasite, the selection includes deeper cuts like Pietro Marcello’s loose Jack London adaptation Martin Eden and Oliver Laxe’s Fire Will Come, the third feature from the director of You All Are Captains and Mimosas. Below, from […]
by Filmmaker Staff on Aug 6, 2019 -
NYFF 2018 Critic’s Notebook 3: Ash is Purest White, Three Faces
For otherwise underinformed viewers like myself, one of the functions of watching Jia Zhangke’s movies in real time as they came out was pedagogical: because I don’t read the news enough, I’m not sure I would have known about the construction of the Three Gorges Dam otherwise, let alone developed a visceral understanding of its impact. It was Jia’s extended project, in narrative and nonfiction films made during its construction, to continually integrate footage documenting the destruction of houses where some 1.4 million people lived, the subsequent flooding of valley living areas and the fallout from residents’ displacement. These images […]
by Vadim Rizov on Oct 3, 2018
