{"id":18451,"date":"2023-08-17T10:37:40","date_gmt":"2023-08-17T14:37:40","guid":{"rendered":"https:\/\/cinemadailyus.com\/?p=18451"},"modified":"2023-08-17T10:37:40","modified_gmt":"2023-08-17T14:37:40","slug":"film-at-lincoln-center-announces-nyff61-spotlight-selections-hayao-miyazaki-neo-sora-and-tran-anh-hungs-films-and-more","status":"publish","type":"post","link":"https:\/\/cinemadailyus.com\/?p=18451","title":{"rendered":"Film at Lincoln Center Announces NYFF61 Spotlight Selections : Hayao Miyazaki, Neo Sora and Tr\u00e2n Anh H\u00f9ng’s Films and More"},"content":{"rendered":"
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FILM AT LINCOLN CENTER ANNOUNCES
<\/span><\/b>SPOTLIGHT FOR\u00a0<\/span><\/b>THE 61st NEW YORK FILM FESTIVAL
<\/span><\/b>
World premieres are
<\/span><\/b>Nathan Fielder and Benny Safdie’s The Curse<\/i>
<\/span><\/b>Garth Davis’s Foe<\/i>\u00a0starring Saoirse Ronan and Paul Mescal<\/span><\/b>
<\/i><\/span><\/b>
<\/i><\/span><\/b><\/h4>\n

Spotlight Gala presentation of Bradley Cooper\u2019s Maestro<\/i> in its North American premiere, featuring Dolby Vision and Dolby Atmos sound at David Geffen Hall

<\/span><\/b>U.S. premiere of The Boy and the Heron<\/i>, Hayao Miyazaki\u2019s first film in a decade

<\/span><\/b>New works by Pedro Almod\u00f3var, Joe Brewster and Mich\u00e8le Stephenson, David Cronenberg, Harmony Korine, Yorgos Lanthimos, Richard Linklater, Steve McQueen, Errol Morris, Neo Sora, Tr\u00e2n Anh H\u00f9ng, Sean Price Williams,\u00a0<\/span><\/b>and Frederick Wiseman<\/span><\/b><\/h4>\n<\/div>\n<\/div>\n<\/div>\n
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New York, NY (August 17, 2023) <\/span><\/b>\u2013 Film at Lincoln Center announces Spotlight for the 61st New York Film Festival (September 29\u2013October 15). The NYFF61 Spotlight section complements the <\/span>Main Slate<\/a><\/span> with a selection of significant and surprising films, one-of-a-kind presentations including adventurous portraits of creative minds, one-night only events with live musical accompaniment, bold short films by acclaimed directors, and probing documentaries.<\/span><\/p>\n

As <\/span>previously announced<\/a><\/span>, NYFF61 will present the North American premiere of Bradley Cooper\u2019s Maestro <\/i>on October 2 in a Spotlight Gala evening at David Geffen Hall specially outfitted with Dolby Vision and Dolby Atmos sound.<\/span><\/p>\n

World premieres in the Spotlight section are <\/span>Nathan Fielder and Benny Safdie\u2019s genre-defying series “The Curse<\/strong>”\u00a0<\/i>starring Emma Stone; and Garth Davis\u2019s superbly rendered science-fiction drama “Foe<\/i><\/strong>,” starring Saoirse Ronan and Paul Mescal.<\/span><\/p>\n

Additional highlights in Spotlight are the long-awaited “The Boy and the Heron<\/i><\/strong>,” Hayao Miyazaki\u2019s first film in a decade; a late-night showing of Harmony Korine\u2019s “AGGRO DR1FT<\/i><\/strong>,” shot entirely in infrared, preceded by David Cronenberg\u2019s surreal short “Four Unloved Women<\/strong>,” “Adrift on a Purposeless Sea<\/strong>,” “Experience the Ecstasy of Dissection<\/strong>,”\u00a0<\/i>Richard Linklater\u2019s cleverly existential comedy “Hit Man<\/i><\/strong>,” starring and co-written by actor Glen Powell; Sean Price Williams\u2019s feature debut, the weird and wild “The Sweet East<\/strong>,”<\/i>\u00a0and Tr\u00e2n Anh H\u00f9ng\u2019s sumptuous Cannes Best Director winner “The Taste of Things<\/i><\/strong>,” starring Juliette Binoche and Beno\u00eet Magimel.<\/span><\/p>\n

Documentaries are a significant part of Spotlight, with Joe Brewster and Mich\u00e8le Stephenson\u2019s Sundance-awarded “<\/span>Going to Mars<\/strong>,” “The Nikki Giovanni Project<\/strong>,”<\/span><\/i>\u00a0Steve McQueen\u2019s sober and gripping “Occupied City<\/strong>,”<\/i>\u00a0Errol Morris\u2019s riveting portrait of “John le Carr\u00e9<\/strong>,”\u00a0T<\/i>he Pigeon Tunnel<\/i>; Frederick Wiseman\u2019s sumptuous “Menus-Plaisirs Les Troisgros<\/strong>,”\u00a0<\/i>and “Ryuichi Sakamoto | Opus<\/i><\/strong>,” Neo Sora\u2019s heartfelt gift to his father\u2019s fans.<\/span><\/p>\n

One-of-a-kind events include Yorgos Lanthimos\u2019s “Bleat<\/strong>“<\/i> starring Emma Stone, presented in 35mm and featuring live musical accompaniment, and an extended conversation with Pedro Almod\u00f3var following his 30-minute film “Strange Way of Life<\/strong>.”<\/i><\/span><\/p>\n

Explore NYFF61\u2019s <\/span>Main Slate<\/a><\/span> lineup.<\/span> Currents, Revivals, and Talks <\/span>sections<\/a><\/span> will be announced soon\u2013\u2013<\/span>sign up for NYFF updates<\/a><\/span> for the latest news.<\/span><\/p>\n

All NYFF61 feature documentaries are presented by HBO\u00ae.<\/span><\/p>\n

The New York Film Festival will offer festival screenings in all five boroughs of New York City in partnership with Alamo Drafthouse Cinema (Staten Island), BAM (Brooklyn Academy of Music) (Brooklyn), the Bronx Museum of the Arts (Bronx), Maysles Documentary Center in Harlem (Manhattan), and the Museum of the Moving Image (Queens). Each venue will present a selection of films throughout the festival; a complete list of films and showtimes will be announced later this month.<\/span><\/p>\n

The NYFF Spotlight selection committee, chaired by Dennis Lim, also includes Florence Almozini, Justin Chang, K. Austin Collins, and Rachel Rosen.<\/span><\/p>\n

Presented by Film at Lincoln Center, the New York Film Festival highlights the best in world cinema and takes place September 29\u2013October 15, 2023. An annual bellwether of the state of cinema that has shaped film culture since 1963, the festival continues an enduring tradition of introducing audiences to bold and remarkable works from celebrated filmmakers as well as fresh new talent. <\/span><\/p>\n

Secure your seats with Festival Passes, <\/span>limited quantities on sale now<\/a><\/span> with discounts through today, August 17, only. NYFF61 single tickets will go on sale to the general public on Tuesday, September 19 at noon ET, with <\/span>pre-sale access<\/a><\/span> for <\/span>FLC Members<\/a><\/span> and Pass holders prior to this date. Become an <\/span>FLC Member<\/a><\/span> by this Friday, August 18 to secure pre-sale access. <\/span>NYFF61 press and industry accreditation<\/a><\/span> is now open through August 28.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n

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SPOTLIGHT FILMS & DESCRIPTIONS<\/span><\/u><\/b><\/p>\n

Spotlight Gala
<\/span><\/b><\/h2>\n

Maestro
<\/span><\/b>Bradley Cooper, 2023, U.S., 129m
<\/span><\/b>North American Premiere
<\/span><\/b>In his directorial follow-up to A Star Is Born<\/i>, Bradley Cooper dramatizes the public and private lives of legendary musician Leonard Bernstein with sensitivity, visual ingenuity, and symphonic splendor. Coasting on the boundless energy of its subject\u2019s runaway genius, Maestro<\/i> transports the viewer back to a vividly re-created postwar New York, when Bernstein (Cooper) began his stratospheric rise to international fame as both a conductor and composer, and also when he first met Felicia (Carey Mulligan), the actress whom he would marry and spend his life with. Maestro<\/i> is a tender, often intensely emotional film about the different faces one wears when living in the public eye, depicting the complicated yet devoted decades-spanning relationship between Leonard and Felicia. Fueled by Cooper and Mulligan\u2019s perfectly matched duet of towering performances, Matthew Libatique\u2019s balletic cinematography, and, of course, Bernstein\u2019s thrilling music, Maestro<\/i> is a tour de force for its director. A Netflix release.

AGGRO DR1FT
<\/span>Harmony Korine, 2023, U.S., 80m
<\/span><\/b>U.S. Premiere
<\/span><\/b>More than a decade after Spring Breakers<\/i>, Harmony Korine (Julien Donkey-Boy<\/i>, NYFF37; Trash Humpers<\/i>, NYFF47) returns with an even more hallucinatory trance film, and perhaps his most formally unbound work. Shot entirely in retina-scorching infrared and set to an intoxicating Araabmuzik score, AGGRO DR1FT <\/i>casts Jordi Molla and rapper Travis Scott in a feverish, transporting action-movie miasma of skulls and swords, masks and machine guns, strippers and mobsters, horned demons and hot cars.<\/p>\n

Preceded by:
<\/span><\/i>Four Unloved Women, Adrift on a Purposeless Sea, Experience the Ecstasy of Dissection
<\/span><\/b>David Cronenberg, Canada\/Italy, 4m
<\/span><\/b>North American Premiere
<\/span><\/b>Surgery is the new sex, 18th-century style. In David Cronenberg\u2019s wry, surrealist miniature, four anatomical female wax models\u2014taken from the collection of Florence\u2019s 250-year-old science museum La Specola\u2014lie in uncanny repose as the camera dreamily caresses their detachable organs, exposed body cavities, and glossy ceroplastic flesh. Under the director\u2019s inimitable gaze, objects created as pedagogical tools take on an impassioned agency, contorting in perpetual agony and ecstasy.<\/p>\n

Bleat
<\/span><\/b>Yorgos Lanthimos, 2022, Greece, 35mm, 30m
<\/span><\/b>North American Premiere
<\/span><\/b>Director Yorgos Lanthimos and star Emma Stone have worked together before (The Favourite<\/i>, NYFF56; Poor Things<\/i>, NYFF61), but never in black-and-white on a remote Greek island with a herd of goats. In this entrancing, wordless collaboration, Stone gives a mesmerizing performance as a young widow who, along with her late husband (Damien Bonnard), embarks on a singularly unclassifiable journey through sex, death, and resurrection. Showing for the first time since its Athens premiere last year and designed never to be presented with a recorded soundtrack, this unique 35mm screening of the silent film will feature live accompaniment by an ensemble of musicians and a choir, performing pieces by J.S. Bach, Knut Nystedt, and Toshio Hosokawa. Followed by a conversation with Yorgos Lanthimos. Commissioned for the program The Artist on the Composer, <\/i>Bleat is a Greek National Opera (GNO) co-production with NEON, a nonprofit organization funded solely by its founder Dimitris Daskalopoulos. The annual program, which invites contemporary artists to create new works that embrace classical music performed live, is curated by GNO Artistic Director Giorgos Koumendakis and NEON Director Elina Kountouri. The GNO\u2019s participation in this co-production and its U.S. premiere was made possible by a grant from the Stavros Niarchos Foundation (SNF) to enhance the GNO\u2019s artistic outreach. Additional support for this New York Film Festival presentation was provided by Superprime Films.<\/i><\/b><\/p>\n

The Boy and the Heron
<\/span><\/b>Hayao Miyazaki, 2023, Japan, 124m
<\/span><\/b>Japanese with English subtitles
<\/span><\/b>U.S. Premiere
<\/span><\/b>The first film in a decade from Hayao Miyazaki is a ravishing, endlessly inventive fantasy that is destined to be ranked with the legendary animator\u2019s finest, boldest works. While the Second World War rages, the teenage Mahito, haunted by his mother\u2019s tragic death, is relocated from Tokyo to the serene rural home of his new stepmother Natsuko, a woman who bears a striking resemblance to the boy\u2019s mother. As he tries to adjust, this strange new world grows even stranger following the appearance of a persistent gray heron, who perplexes and bedevils Mahito, dubbing him the \u201clong-awaited one.\u201d Indeed, an extraordinary and grand fate is in store for our young hero, who must journey to a subterranean alternate reality in the hopes of saving Natsuko\u2014and perhaps himself. Uniting the countryside surreality of My Neighbor Totoro<\/i> with the Alice in Wonderland<\/i>\u2013like dream logic of Spirited Away<\/i> and the personal historical backdrop of The Wind Rises <\/i>(NYFF51), yet fabricating something ingeniously original, The Boy and the Heron<\/i> is a deeply felt work of eccentric beauty brimming with inspired images that lodge in the mind, from the adorable to the grotesque. Moving from earthbound serenity to a universe of boundless imagination, Miyazaki\u2019s long-anticipated film seeks, once and for all, a world without malice. A GKIDS release.<\/p>\n

The Curse
<\/span><\/b>Nathan Fielder and Benny Safdie, 2023, U.S., 159m
<\/span><\/b>World Premiere
<\/span><\/b>In this brilliantly discomfiting collaboration between Nathan Fielder (hot on the heels of his revelatory comic creation The Rehearsal<\/i>) and Benny Safdie (Uncut Gems<\/i>, NYFF57), Fielder and Emma Stone play Asher and Whitney Siegel, married entrepreneurs (don\u2019t call them gentrifiers!) whose latest plan is to flip houses and convert them into eco-friendly homes for the struggling residents of Espa\u00f1ola, New Mexico\u2014all for an HGTV-style reality show being overseen by an ingratiating producer (Safdie) with demons of his own. From this premise, which nimbly touches upon inescapable American issues of race, class, and capital, Fielder and Safdie branch out into an increasingly tangled network of ethical and moral gray zones, expertly balancing the tender and the merciless. The New York Film Festival is pleased to premiere the first three episodes of this genre-defying, riotously funny series, directed by Fielder and David and Nathan Zellner; episodes 4\u201310 will be screened at Film at Lincoln Center during the show\u2019s run. An A24\/Showtime release.<\/p>\n

Foe
<\/span><\/b>Garth Davis, 2023, Australia, 110m
<\/span><\/b>World Premiere
<\/span><\/b>In the year 2065, a married midwestern couple, Hen (Saoirse Ronan) and Junior (Paul Mescal), live in Junior\u2019s weather-beaten ancestral farmhouse. Their relationship seems to be on ground as unsolid as the expansive, desolate landscape that surrounds them, parched and mottled by decades of climate change. One night, a stranger (Aaron Pierre) arrives at their door with a surprising proposal, offering them the chance to change their own futures and perhaps alter the course of human existence. In this superbly rendered, sensationally acted science-fiction drama, adapted from the acclaimed novel by Iain Reid, director Garth Davis (Lion<\/i>) brilliantly toys with viewers\u2019 perceptions while interrogating essential questions of our time about environmental apocalypse and the rise of artificial intelligence, building in emotional intensity to a devastating climax. An Amazon Studios release.<\/p>\n

Going to Mars: The Nikki Giovanni Project
<\/span><\/b>Joe Brewster and Mich\u00e8le Stephenson, 2023, U.S., 103m
<\/span><\/b>Winner of the Grand Jury Prize in the Sundance U.S. Documentary Competition, this beguiling documentary portrait follows poet and activist Nikki Giovanni as she approaches 80. The film explores Giovanni\u2019s Afrofuturist-feminist philosophical outlook as well as her poignant relationship with her family, her political audacity, and her poetic eloquence, all knit together with a constant eye and ear for its subject\u2019s own aesthetic verve. Looking back at a personal life and history cast in the long shadow of American racism, and forward to hopeful, possible futures, Giovanni acts as our guide and narrator, with refreshingly unorthodox filmmakers Joe Brewster and Mich\u00e8le Stephenson refraining from traditional chronologies or talking-head conventions. Going to Mars<\/i> is fueled by constant intellectual engagement and radical imagination in the search for emotional and political fulfillment in a world of disenfranchisement.<\/p>\n

Hit Man
<\/span><\/b>Richard Linklater, 2023, U.S., 113m
<\/span><\/b>U.S. Premiere
<\/span><\/b>In a wily and charismatic star turn, Glen Powell plays straight-laced philosophy professor Gary Johnson, who moonlights as an undercover hit man for the New Orleans Police Department. Preternaturally gifted at inhabiting different guises and personalities to catch hapless people hoping to bump off their enemies, Gary begins to descend into morally dubious territory when he finds himself attracted to one of those potential criminals, a young woman named Madison (Adria Arjona)\u2014setting off a chain reaction of play-acting and false selves. Richard Linklater\u2019s peppy sunlit neo-noir\u2014based on an improbable true story, with a few wild embellishments\u2014is a continually surprising delight: co-written by Linklater and Powell, it\u2019s a cleverly existential comedy about identity that deepens in meaning as it escalates in absurdity.<\/p>\n

Menus-Plaisirs Les Troisgros
<\/span><\/b>Frederick Wiseman, 2023, France\/U.S., 240m
<\/span><\/b>French with English subtitles
<\/span><\/b>U.S. Premiere
<\/span><\/b>The United States\u2019s unrivaled maestro of observational nonfiction, Frederick Wiseman, brings his camera into a three-star Michelin restaurant in rural central France, and the results are as expansive, delectable, and provocative as one would hope. La Maison Troisgros, located in the Roanne commune in Loire, is run by head chef Michel Troisgros and his sons C\u00e9sar and L\u00e9o. In addition to displaying the craft and skill that goes into Troisgros\u2019s mouthwatering dishes, Wiseman takes an organic approach, bringing us to the local farms that provide the restaurant\u2019s produce and animal products as well as behind the scenes with floor staff and administrators. The result is a patient, kaleidoscopic documentary portrait of the demand for perfection that makes for a surprising but apt subject in Wiseman\u2019s decades-long inquiries into the inner workings of complicated institutions that function with their own rules and standards. A Zipporah Films release.<\/p>\n

Occupied City
<\/span><\/b>Steve McQueen, 2023, U.K.\/Netherlands, 262m, including intermission
<\/span><\/b>A work of patient storytelling and gripping historical excavation, Steve McQueen\u2019s four-and-a-half-hour documentary is a mammoth confrontation with a shameful historical legacy that draws parallels to our contemporary world. With startling sobriety, McQueen (12 Years a Slave<\/i>, NYFF51; Small Axe<\/i>, NYFF58) recounts in prismatic fashion the realities of life in Amsterdam during World War II under the Nazi occupation of the Netherlands. Rather than rely on archival footage or talking heads, McQueen constructs the film from exquisitely composed, newly captured images of Amsterdam, compiled over the past three years, including during the city\u2019s COVID lockdown. Over these shots, provocatively detached voiceover by actress Melanie Hyams\u2014adapted from the book Atlas of an Occupied City (Amsterdam 1940-1945) <\/i>by Dutch journalist and documentarian Bianca Stigter\u2014narrates the evils that took place in these exact places, public and private, not even a century ago. Recalling McQueen\u2019s more durational installation work as much as his narrative cinema, Occupied City<\/i> accrues power as it forges ahead. Visually representing these spaces entirely within a present-day context, McQueen evokes the rise of right-wing extremism currently felt throughout the Western world, while never letting us forget that everywhere we stand is haunted by a violent past\u2014and that to be in history is to constantly walk upon graves. An A24 release.<\/p>\n

The Pigeon Tunnel
<\/span><\/b>Errol Morris, 2023, U.K., 92m
<\/span><\/b>Pioneering documentarian Errol Morris applies his signature aesthetic to a riveting portrait of John Le Carr\u00e9, whose novels such as The Spy Who Came in from the Cold<\/i> and Tinker, Tailor, Soldier, Spy<\/i> forever changed the way we perceive espionage in popular culture and the world. Adapting Le Carr\u00e9\u2019s 2016 nonfiction memoir of the same name, The Pigeon Tunnel<\/i>\u2014named for the cement paddock where the birds are kept before being released as shooting targets for sportsmen\u2014traces with thriller-like precision the fascinating life of the British-Irish author, born David Cornwell, from a motherless childhood overseen by a con-man father to his travels to Berlin and his eventual fame as the 20th century\u2019s preeminent writer of existential, intricately detailed spy stories that were realist, politically acute alternatives to James Bond. At the center of the film, however, is the relationship between the main interview subject, recorded not long before his death in 2020, and his interrogator: for Le Carr\u00e9, submitting to Morris\u2019s camera becomes a willful act of \u201cself-examination,\u201d a chance to question the nature of truth and what can\u2014or refuses to\u2014be revealed behind a placid outward exterior. An Apple Films release.<\/p>\n

Ryuichi Sakamoto | Opus
<\/span><\/b>Neo Sora, 2023, Japan, 102m
<\/span><\/b>Japanese with English subtitles
<\/span><\/b>North American Premiere
<\/span><\/b>When Ryuichi Sakamoto died in March 2023 at age 71, the world lost one of its greatest musicians: a classical orchestral composer, a techno-pop artist, and a piano soloist who elevated every genre he worked in and inspired and influenced music-lovers across the globe. As a final gift to his legions of fans, filmmaker Neo Sora (Sakamoto\u2019s son) has constructed a gorgeous elegy starring Sakamoto himself in one of his final performances. Recorded in December 2022 at NHK Studio in Tokyo, this filmed concert is an intimate, melancholy, and achingly beautiful one-man show, featuring just Sakamoto and a Yamaha grand, as the composer glides through a playlist of his most haunting, delicate melodies (including \u201cLack of Love, \u201cThe Wuthering Heights,\u201d \u201cAqua,\u201d \u201cOpus,\u201d and many more). Shot in pristine black-and-white by Bill Kirstein and edited by Takuya Kawakami, this stirring film brings us so close to a living, breathing artist that it feels like pure grace.<\/p>\n

Strange Way of Life
<\/span><\/b>Pedro Almod\u00f3var, 2023, Spain, 31m
<\/span><\/b>Almod\u00f3var has spent his career creating gorgeous works of cinematic pastiche without sacrificing the essential human core. In his dazzling new short, he has created something unexpected, a hyper-male Western melodrama of vivid colors and explosive homoeroticism starring Ethan Hawke as a small-town sheriff who, after 25 years, rekindles a sexual relationship with a former lover, played by Pedro Pascal, when the latter\u2019s son is suspected of a local killing. Gorgeously shot and scored by Almod\u00f3var\u2019s standbys Jos\u00e9 Luis Alcaine and Alberto Iglesias, Strange Way of Life<\/i> captures the rarely dramatized intensity of middle-aged romance. A Sony Pictures Classics release. Followed by a conversation with Pedro Almod\u00f3var.<\/p>\n

The Sweet East
<\/span><\/b>Sean Price Williams, 2023, U.S., 104m
<\/span><\/b>North American Premiere
<\/span><\/b>Smack in the middle of a high school trip to our nation\u2019s capital, self-possessed teen Lillian (Talia Ryder) breaks off from her classmates, kicking off a journey straight down the rabbit hole of the New Weird America. In the rollicking feature debut for both director Sean Price Williams (known for his grotty-beautiful cinematography for films by Alex Ross Perry and the Safdie brothers) and critic-turned-screenwriter Nick Pinkerton, the Eastern seaboard becomes the site for a deranged and hilarious autopsy of contemporary U.S. life in which Lillian becomes an indifferent sounding board to all manner of loquacious, callous oddballs, including a sexually numb, white supremacist pedant (a delightfully committed Simon Rex) and a pair of wildly excitable indie filmmakers (Ayo Edebiri and Jeremy O. Harris, comedy gold). Tying it all together is a performance of remarkable poise and confidence by Ryder (memorable in Eliza Hittman\u2019s Never Rarely Sometimes Always<\/i>), who provides the tender center to this cockeyed exhibition of all-purpose mockery. A Utopia release.<\/p>\n

The Taste of Things
<\/span><\/b>Tr\u00e2n Anh H\u00f9ng, 2023, France, 145m
<\/span><\/b>French with English subtitles
<\/span><\/b>Destined to be remembered as one of the great films about the meaning, texture, and experience of food, this sumptuous, exceptionally well-crafted work, set in late 19th-century France, stars Juliette Binoche and Beno\u00eet Magimel (married, decades ago, in real life) as Eug\u00e9nie, a cook, and Dodin, the gourmet chef she has been working with for 20 years. As they reach middle age, they can no longer deny their mutual romantic feelings, which have so long been concentrated in their passionate professionalism. This simple narrative\u2014based upon Marcel Rouff\u2019s 1924 novel La passion de Dodin-Bouffant, Gourmet<\/i>\u2014sets the table for a sublime, sense-heightening exploration of pleasure, in which the play of sunlight across a late-afternoon kitchen is as meaningful as the image of a perfectly poached pear or the crisp of a buoyant vol-au-vent. Director Tr\u00e2n Anh H\u00f9ng (The Scent of Green Papaya<\/i>, NYFF31) won the Best Director prize at this year\u2019s Cannes Film Festival for his bravura, scrupulously deployed feat of epicurean cinema. An IFC Films release.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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