At Cannes, Claire Denis’s Let the Sunshine In (subtitled Bright Sunshine In on the DCP) premiered to many nonplussed reactions. By some considerable measure her talkiest film, Sunshine tracks a painter, Isabelle (Juliette Binoche), as she slams straight from one romantic dalliance into another. That is, effectively, the entire plot: there are a few scenes that do not involve men, but in general the film marches inexorably and restlessly through a series of failed partnerships. The dance and sex scenes are very familiar — Denis still gets defamiliarizingly close to skins and heads — but the rest is not, necessarily. Denis has […]

Seventeen years ago, Agnès Varda filmed her own hand in horror. The blotches, the wrinkles, the bulging blue veins: These may as well be the hands of a stranger. “My hair and my hands keep telling me that the end is near,” she says in her 2000 film The Gleaners & I. Despite the forebodings of death in Gleaners and 2008’s The Beaches of Agnès, Agnès is still with us; what a gift it is to have her still around. Varda, now 89, has partnered with French artist JR to co-direct another freewheeling, full-of-life documentary. Faces Places overflows with the […]

NYFF’s second week of press screenings were scheduled in such an apropos way: over 36 hours, you could watch two Hong Sang-soo films sandwiched around Philippe Garrel’s latest. Two of my absolute favorite working filmmakers, they share at least two important traits: creating an illusion of verisimilitude so strong it’s near-impossible to catch anyone onscreen “acting,” and an obsessive return to the same super-straight-male preoccupations, with the Venn diagram decidedly overlapping at infidelity. (Claire Denis is a big fan of both, and her Let the Sunshine In acts as an unexpected companion piece to the films discussed here; more on […]

Until relatively recently, Richard Linklater’s hopscotching across genres and budgetary tiers had him generally pegged as an unpredictable magpie whose next move would never be clear; now, certain circles of online discourse have him basically pegged as the alpha male celebrator of white patriarchy (I did my song and dance on this a while ago, no reprise necessary). Setting aside those pejoratively-described constants, I think it’s true that starting with Before Midnight (the exact pivot point is arguable) the mandatory elements of A Film By Richard Linklater have become pretty fixed (put another way, I certainly don’t expect faithful filmings of mediocre plays […]

Drama teachers will command their students to roll around studio floors in all black outfits to loosen their bodies. Training for an emerging actor is often technical, involving a long and difficult process of deconstructing what it is to be human. It’s this concentrated discipline that’s the backdrop for Alison Maclean’s newest feature, The Rehearsal, which recently played the Main Slate of the 54th New York Film Festival. “It’s ironic that I wanted to make a film about the acting process because that’s the aspect of filmmaking I’ve always found the most challenging,” said Maclean. “I’ve wanted to go deeper […]

Director Jim Jarmusch sat down with New York Film Festival Director Kent Jones for this year’s On Cinema master class, to discuss some of his favorite films and directors, including Samuel Fuller, Abbas Kiarostami, Aki Kaurismäki, Robert Wise, Nicholas Ray, and others. You can watch the entire one-hour conversation in the video above. Jarmusch had two films at the 54th New York Film Festival: Main Slate selection Paterson starring Adam Driver, and Gimme Danger, a documentary on Iggy Pop and the Stooges, which will open at the Film Society of Lincoln Center on October 28.

“It was important for me to spend time in Coney Island. It’s a beautiful place, very Fellini,” said Alice Rohrwacher in the Elinor Bunin Munroe Film Center Amphitheater at Lincoln Center. The Italian filmmaker spent the last month in New York because she was selected as the 2016 Filmmaker in Residence, a program co-founded by Film Society of Lincoln Center and Jaeger-LeCoultre to support filmmakers in early development. Previous filmmakers selected for the program include American Honey’s Andrea Arnold and Chevalier’s Athina Rachel Tsangari. Besides participating in a New York Film Festival talk about her career and working on the screenplay […]

On the evidence of the finest films in the first third of this 54th edition of the New York Film Festival, those familiar with the exhibitionistic, amped-up social set that frolicked in, gawked at, or read about the notorious, dear-departed Manhattan night spot might find it ironic, or a misnomer, that its moniker is my appropriated title for this initial NYFF feature. Sure, Lincoln Center ranks far lower on the cool scale than the legendary club, but, a testament to tenacity, merit, and resilience — how it has managed to survive continuous power struggles and administrative shuffles of parent organization […]

Fresh from Lincoln Center, here’s the line-up for the main slate of this year’s New York Film Festival. Amid the usual set of heavy-duty auteurs’ latest works (Jim Jarmusch, Olivier Assayas, the Dardennes, Kelly Reichardt et al.), there are a few outliers as usual, including Dash Shaw’s My Entire High School Sinking into the Sea, which will premiere at this year’s TIFF. NYFF runs from September 30-October 16, kicking off with the world premiere of Ava DuVernay’s new documentary The 13th and closing with another high-profile world premiere, James Gray’s The Lost City of Z. Opening Night The 13th Directed by Ava DuVernay […]

I don’t think it’s unreasonable to speculate that any director, following his second ambitious, divisive high-profile theatrical underperformer/probable money-loser (or anyone fresh off a recently completed production, really), might generally welcome a chance to get out of town. It’s unclear how far in advance Radiohead’s Jonny Greenwood planned to go to Rajasthan to collaborate on an album with Israeli-born, Indian-residing Sufi convert Shye Ben Tzur, or whether Paul Thomas Anderson initially committed to tagging along; regardless, it seems to have been restorative fun. Junun is a 54-minute music doc in which Anderson shoots whatever he wants, however he wants to. There are five credited camera operators, including Anderson […]