{"id":22436,"date":"2024-03-12T11:50:48","date_gmt":"2024-03-12T15:50:48","guid":{"rendered":"https:\/\/cinemadailyus.com\/?p=22436"},"modified":"2024-03-12T11:50:48","modified_gmt":"2024-03-12T15:50:48","slug":"the-53rd-edition-of-new-directors-new-film-lineup","status":"publish","type":"post","link":"https:\/\/cinemadailyus.com\/?p=22436","title":{"rendered":"MoMA and FLC Announce the Complete Lineup for the 53rd Edition of New Directors\/New Films, April 3-14"},"content":{"rendered":"
\n
\n
\n
\n
Features
<\/span><\/u><\/b>All, or Nothing at All\u00a0<\/span><\/b>dir. Jiajun \u201cOscar\u201d Zhang
<\/span>Blackbird Blackbird Blackberry\u00a0<\/span><\/b>dir. Elene Naveriani
Blaga\u2019s Lessons\u00a0<\/b>dir. Stephan Komandarev
Cu Li Never Cries\u00a0<\/span><\/b>dir. Pham Ngoc L\u00e2n
The Day I Met You\u00a0<\/span><\/b>dir. Andr\u00e9 Novais Oliveira
A Different Man\u00a0<\/b><\/a>dir. Aaron Schimberg
Dreaming & Dying\u00a0<\/span><\/b>dir. Nelson Yeo
Exhibiting Forgiveness<\/b>\u00a0dir. Titus Kaphar
Explanation for Everything\u00a0<\/span><\/b>dir. G\u00e1bor Reisz
Foremost By Night\u00a0<\/span><\/b>dir. V\u00edctor Iriarte
Good One\u00a0<\/b>dir. India Donaldson
A Good Place\u00a0<\/b>dir. Katharina Huber
Grace\u00a0<\/b>dir. Ilya Povolotsky<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\n
\n
\n

Hesitation Wound\u00a0<\/b>dir. Selman Nacar
Intercepted<\/span><\/b>\u00a0dir. Oksana Karpovych
A Journey in Spring\u00a0<\/span><\/b>dir. Wang Ping-Wen, Peng Tzu-Hui
Lost Country\u00a0<\/span><\/b>dir. Vladimir Peri\u0161i\u0107
Malu<\/span><\/b><\/a>\u00a0dir. Pedro Freire
Meezan<\/span><\/b>\u00a0dir. Shahab Mihandoust
Of Living Without Illusion\u00a0<\/span><\/b>dir. Katharina L\u00fcdin
Omen\u00a0<\/span><\/b>dir. Baloji
Otro Sol<\/span><\/b>\u00a0dir. Francisco Rodr\u00edguez Teare
The Permanent Picture\u00a0<\/b>dir. Laura Ferr\u00e9s
The Rim<\/span><\/b>\u00a0dir. Alberto Gracia
Stress Positions\u00a0<\/span>dir. Theda Hammel<\/p>\n<\/div>\n<\/div>\n<\/div>\n

<\/div>\n<\/div>\n
\n
\n
\n
\n
\n
\n

Shorts Program I
<\/span><\/u><\/b>Via Dolorosa\u00a0<\/span><\/b>dir. Rachel Gutgarts
Goodbye First Love\u00a0<\/span><\/b>dir. Shuli Huang
Shimmering Bodies\u00a0<\/span><\/b>dir. In\u00eas Teixeira

<\/p>\n

\n

Shorts Program II
<\/span><\/u><\/b>Break no. 1 & Break no. 2\u00a0<\/span><\/b>dir. Lei Lei
The night\u00a0of<\/span>\u00a0the minotaur\u00a0<\/span><\/b>dir. Juliana Zuluaga Montoya<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

\n
\n
\n


Nos \u00celes<\/span><\/b>\u00a0dir. Aliha Thalien
The Voice\u00a0of<\/span>\u00a0Others\u00a0<\/span><\/b>dir. Fatima Kaci
<\/p>\n

\n

Kill \u2019Em All\u00a0<\/span><\/b>dir.\u00a0<\/span>Sebastian Molina Ruiz
<\/span>The Porn Selector\u00a0<\/span><\/b>dir. Lou Fauroux
Digital Devil Saga<\/span><\/b>\u00a0dir. Cameron Worden<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

<\/div>\n<\/div>\n
\n
\n

The\u00a0New<\/span>\u00a0Directors\/New<\/span><\/span>\u00a0Films<\/span>\u00a0selection committee is made up\u00a0of<\/span>\u00a0members from both presenting organizations. The 2024 feature committee comprises Dan Sullivan (Co-chair, FLC), Tyler Wilson (FLC), Maddie Whittle (FLC), La Frances Hui (Co-Chair, MoMA), Rajendra Roy (MoMA), and Josh Siegel (MoMA), and the shorts were programmed by Katie Zwick (FLC) and Francisco Valente (MoMA).<\/span><\/p>\n

Tickets will go on sale to the general public on Thursday, March 7 at noon ET, with early-access opportunities for FLC and MoMA members on Tuesday, March 5 at noon.\u00a0<\/span>Tickets are $18 for the general public; $15 for students, seniors (62+), and persons with disabilities; and $13 for MoMA and FLC members. Opening Night tickets are $25 for the general public; $22 for students, seniors (62+), and persons with disabilities; and $20 for FLC and MoMA members.<\/span><\/p>\n

See more and save with a 6-Film Package for $99; discount automatically applied when adding tickets to cart (excludes Opening and Closing\u00a0films<\/span>). Complete your ND\/NF experience with a VIP Pass: $400 for the general public and $350 for FLC and MoMA Members (includes two tickets to every film and two tickets to Opening Night and the Opening Night Party). Learn more at\u00a0<\/span>new<\/span>directors.org<\/a><\/span>.<\/span><\/p>\n<\/div>\n<\/div>\n

\n
\n

New<\/span>\u00a0Directors\/New<\/span><\/span>\u00a0Films<\/span>\u00a0is presented by Film at Lincoln Center and The Museum\u00a0of<\/span>\u00a0Modern Art.<\/span><\/b><\/p>\n

Film at Lincoln Center funding for\u00a0New<\/span>\u00a0Directors\/New<\/span><\/span>\u00a0Films<\/span>\u00a0is provided in part by FLC\u2019s\u00a0New<\/span>\u00a0Wave Membership Program, the National Endowment for the Arts, and the\u00a0New<\/span>\u00a0York State Council on the Arts with the support\u00a0of<\/span>\u00a0the\u00a0Of<\/span>fice\u00a0of<\/span>\u00a0the Governor and the\u00a0New<\/span>\u00a0York State Legislature. American Airlines is the\u00a0of<\/span>ficial airline\u00a0of<\/span>\u00a0FLC.<\/span><\/b><\/p>\n

Film at MoMA is made possible by CHANEL. Additional support is provided by the Annual Film Fund. Leadership support for the Annual Film Fund is provided by Debra and Leon D. Black, with major contributions from the Triad Foundation, Inc., The Contemporary Arts Council\u00a0of<\/span>\u00a0The Museum\u00a0of<\/span>\u00a0Modern Art, Jo Carole and Ronald S. Lauder, the Association\u00a0of<\/span>\u00a0Independent Commercial Producers (AICP), The Young Patrons Council\u00a0of<\/span>\u00a0The Museum\u00a0of<\/span>\u00a0Modern Art, and by Karen and Gary Winnick.<\/span><\/b><\/p>\n

Travel support provided by German\u00a0Films<\/span>; Unifrance; and Taipei Cultural Center in\u00a0New<\/span>\u00a0York, Ministry\u00a0of<\/span>\u00a0Culture, ROC (Taiwan).<\/span><\/b><\/p>\n<\/div>\n<\/div>\n

\n
\n

FILMS<\/span>\u00a0& DESCRIPTIONS
<\/b><\/u><\/p>\n

Films will screen at either\u00a0<\/span><\/i>Film at Lincoln Center Walter Reade Theater (165 W. 65th Street), and the Francesca Beale Theater (144 W. 65th Street) or The Museum\u00a0of<\/span>\u00a0Modern Art Titus 1 \/ Titus 2 Theaters (11 W.\u00a053rd<\/span>\u00a0Street)
<\/span><\/i>
Please note the screening location for each film below.<\/span><\/i><\/p>\n<\/div>\n<\/div>\n

\n
\n

 <\/p>\n

Opening Night<\/h6>\n

A Different Man<\/span><\/b>
New York Premiere
<\/span><\/b>Aaron Schimberg, 2023, U.S., 112m
<\/span><\/b>With the hotly anticipated follow-up to his critically acclaimed sophomore feature, 2018\u2019s\u00a0Chained for Life<\/i>,\u00a0New<\/span>\u00a0York-based director Aaron Schimberg boldly announces himself as one\u00a0of<\/span>\u00a0the most fearless and socially incisive\u00a0new<\/span>\u00a0voices in American independent cinema. Sebastian Stan, winner\u00a0of<\/span>\u00a0this year\u2019s Silver Bear for Best Leading Performance at the Berlin Film Festival, delivers an ingeniously embodied performance as Edward, an aspiring actor with severe facial disfigurement, to whom we\u2019re introduced as he navigates a dreary daily existence marked by discouragement and resignation. When a winsome playwright (Renate Reinsve) moves in next door, and an experimental medical procedure becomes available to change his face, Edward\u2019s outlook brightens, and he jumps at the chance for a\u00a0new<\/span>\u00a0lease on life\u2014until the arrival\u00a0of<\/span>\u00a0Oswald (Adam Pearson), an outgoing and warmly charismatic stranger puts his\u00a0new<\/span>found \u201cnormalcy\u201d into perspective, and his artistic aspirations in jeopardy. Schimberg\u2019s latest is a discomfiting tour de force, a social satire that wrangles thorny questions\u00a0of<\/span>\u00a0identity and authenticity with unflinching honesty and slyly virtuosic storytelling flair. An A24 release.<\/p>\n

Wednesday, April 3
<\/span><\/u>7:00pm, MoMA T1 (Q&A with Aaron Schimberg and Sebastian Stan)
<\/span><\/b>7:30pm, MoMA T2 (Intro with Aaron Schimberg and Sebastian Stan)<\/span><\/b><\/p>\n

Thursday, April 4
<\/span><\/u>8:30pm, FLC Walter Reade Theater (Q&A with Aaron Schimberg)<\/span><\/b><\/p>\n

Closing Night
<\/span><\/b><\/h6>\n

Stress Positions
<\/span><\/b>Theda Hammel, 2024, U.S., 95m
<\/span><\/b>New York Premiere
<\/span><\/b>The bewilderment\u00a0of<\/span>\u00a0the early days\u00a0of<\/span>\u00a0COVID is given a manic queer twist in Theda Hammel\u2019s propulsive, brilliantly discombobulating comedy set in Brooklyn in the summer\u00a0of<\/span>\u00a02020. Feeling the sting from a recent separation from his husband, Terry (John Early) is doing his due, \u00fcber-masked diligence to watch over his nephew Bahlul (Qaher Harhash), a Moroccan male model who is staying with Terry while nursing a broken leg. Meanwhile, Terry is fearful that his punchy best friend, Karla (Hammel, in a vibrant, take-no-prisoners turn), working through her own relationship chaos, will be a bad influence on Bahlul, who proves to be a lot wiser and less naive than his uncle might think. Hammel\u2019s cinematic approach is thrillingly unpredictable both visually and sonically, alternating between cacophonous volleys\u00a0of<\/span>\u00a0dialogue and meditative journeys into her characters\u2019 subjective states, while the heightened delirium\u00a0of<\/span>\u00a0Hammel and Faheem Ali\u2019s script evokes the hapless rules\u00a0of<\/span>\u00a0engagement in the ever-shifting borders\u00a0of<\/span>\u00a0queer politics. A NEON release.<\/p>\n

Saturday, April 13
<\/span><\/u>6:00pm, FLC Walter Reade Theater (Q&A with Theda Hammel)
<\/span><\/b>8:30pm, FLC Walter Reade Theater (Intro with Theda Hammel)<\/span><\/b><\/p>\n

Sunday, April 14
<\/span><\/u>5:15pm, MoMA T1 (Q&A with Theda Hammel)<\/span><\/b><\/p>\n

All, or Nothing at All
<\/span><\/b>Jiajun \u201cOscar\u201d Zhang, 2023, China, 124m
<\/span><\/b>Mandarin and Shanghainese with English subtitles
<\/span><\/b>North American Premiere
<\/span>The innovatively conceived and constructed feature debut from Jiajun \u201cOscar\u201d Zhang takes place entirely within the overwhelming, majestically artificial confines\u00a0of<\/span>\u00a0the vertical Global Harbor shopping mall in Shanghai. Against a gleaming and glittering backdrop\u00a0of<\/span>\u00a0endless escalators, perfume samples, skin-care product demonstrations, breakdancing, and elaborately foamed coffee beverages, we are introduced to alternate yet thematically overlapping narratives centered around two pairs\u00a0of<\/span>\u00a0strangers nursing or running from romantic crushes on each other\u2014pursuits experienced in Zhang\u2019s visual approach as both profoundly human and technologically mediated. Threading various narrative avenues and aesthetic textures,\u00a0All, or Nothing at All<\/i>\u00a0of<\/span>fers an entertaining examination\u00a0of<\/span>\u00a0a\u00a0new<\/span>\u00a0generation\u00a0of<\/span>\u00a0young adult disaffection amidst the overload\u00a0of<\/span>\u00a0contemporary living that conceptually parallels the multistory consumerist landscape where it\u2019s set. \u200b\u200bZhang conceived the film to be presented in two versions, the second\u00a0of<\/span>\u00a0which inverts the order\u00a0of<\/span>\u00a0the film\u2019s two halves; we will be presenting both versions at this year\u2019s festival.<\/p>\n

Thursday, April 11
<\/span><\/u>8:30pm, FLC Walter Reade Theater (Q&A with Jiajun \u201cOscar\u201d Zhang)<\/span><\/b><\/p>\n

Friday, April 12
<\/span><\/u>5:45pm, MoMA T2 (Q&A with Jiajun \u201cOscar\u201d Zhang)<\/span><\/b><\/p>\n

Blackbird Blackbird Blackberry
<\/span><\/b>Elene Naveriani, 2023, Switzerland\/Georgia, 110m
<\/span><\/b>Georgian with English subtitles
<\/span><\/b>New York Premiere
<\/span>Winner\u00a0of<\/span>\u00a0the grand prize at the Sarajevo Film Festival,\u00a0Blackbird Blackbird Blackberry<\/i>\u00a0is the funny, tender, and erotic story\u00a0of<\/span>\u00a048-year-old Etero, an unmarried shopkeeper in a Georgian village mocked as a spinster by her gossipy friends even as she secretly carries on a torrid affair with a married man. Georgian cinema is famous not only for the quality\u00a0of<\/span>\u00a0its absurdist storytelling but also for the predominance\u00a0of<\/span>\u00a0women filmmakers throughout its history; now we can celebrate the arrival\u00a0of<\/span>\u00a0writer-director Elene Naveriani and actress Eka Chavleishvili, as the defiantly independent, pleasure-seeking Etero, boldly upholding this rich tradition.<\/p>\n

Saturday, April 13
<\/span><\/u>1:00pm, MoMA T2<\/span><\/b><\/p>\n

Sunday, April 14
<\/span><\/u>6:15pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

Blaga\u2019s Lessons
<\/span><\/b>Stephan Komandarev, 2023, Bulgaria\/Germany, 114m
<\/span><\/b>Bulgarian with English subtitles
<\/span><\/b>New York Premiere
<\/span>Seventy-year-old retired schoolteacher Blaga (Eli Skorcheva) has recently lost her beloved husband, a former police\u00a0of<\/span>ficer well-known in the austere, small northern Bulgarian town where she still lives. Determined to purchase a substantial gravesite and headstone for the deceased, the stern-minded, no-nonsense widow continues to work, giving Bulgarian language lessons to immigrants. However, Blaga\u2019s already precarious world is overturned when one afternoon she falls prey to a frightening telephone scam. This is merely the beginning\u00a0of<\/span>\u00a0a tautly conceived thriller that skillfully captures the feeling\u00a0of<\/span>\u00a0a bleak post-Communist society beset by corruption\u2014in both criminal and\u00a0of<\/span>ficial capacities. Stephan Komandarev\u2019s entirely gripping film rests on the ever-strengthening shoulders\u00a0of<\/span>\u00a0veteran actress Skorcheva, whose remarkable journey from weather-beaten victimhood to aggressive resolve persuasively transforms the film into a provocative story\u00a0of<\/span>\u00a0individual morality in a world gone wrong.<\/p>\n

Tuesday, April 9
<\/span><\/u>8:30pm, MoMA T2<\/span><\/b><\/p>\n

Sunday, April 14
<\/span><\/u>1:00pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

Cu Li Never Cries
<\/span>Pham Ngoc L\u00e2n, 2024, Vietnam\/Singapore\/France\/Philippines\/Norway, 92m
<\/span><\/b>Vietnamese with English subtitles
<\/span><\/b>North American Premiere
<\/span>Personal and political histories are ever-present in the story\u00a0of<\/span>\u00a0Mrs. Nguy\u00ean (Minh Ch\u00e2u), who returns to her hometown to spread the ashes\u00a0of<\/span>\u00a0her estranged husband and to reconnect with her niece, V\u00e2n (H\u00e0 Phuong). Yet V\u00e2n harbors resentment against Mrs. Nguy\u00ean\u2014a mother figure to the orphaned young woman\u2014for her long absence, complicating this homecoming and dredging up a difficult past. As the older woman traverses the familiar yet increasingly alien environs\u00a0of<\/span>\u00a0her past, she has the companionship\u00a0of<\/span>\u00a0Cu Li, the pygmy slow loris her deceased spouse left her, whose impossibly wide, glassy eyes become a reflection for characters caught in a half-dreamscape. Shot in a pristine black-and-white that\u00a0of<\/span>fers immersive realism one moment and a fairy-tale shimmer the next,\u00a0Cu Li Never Cries<\/i>\u00a0is a tender yet commanding feature debut for Pham Ngoc L\u00e2n in which the legacies\u00a0of<\/span>\u00a0Vietnamese history are written on its characters\u2019 uncertain futures. Winner\u00a0of<\/span>\u00a0the Best First Feature prize at the 2024 Berlin Film Festival.<\/p>\n

Tuesday, April 9
<\/span><\/u>6:00pm, MoMA T2<\/span><\/b><\/p>\n

Wednesday, April 10
<\/span><\/u>6:00pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

The Day I Met You
<\/span><\/b>Andr\u00e9 Novais Oliveira, 2023, Brazil, 71m
<\/span><\/b>Portuguese with English subtitles
<\/span><\/b>New York Premiere
<\/span>This micro portrait\u00a0of<\/span>\u00a0two individuals finding comfort in each other\u2019s company\u00a0of<\/span>fers a refreshing reprieve from the daily grind. Set in the vicinity\u00a0of<\/span>\u00a0Belo Horizonte, the capital\u00a0of<\/span>\u00a0the mountainous Brazilian state\u00a0of<\/span>\u00a0Minas Gerais, the film follows Zeca (Renato Novaes), whose job, body, and mind have all gone out\u00a0of<\/span>\u00a0whack. The weight\u00a0of<\/span>\u00a0setbacks is lifted when he spends a few impromptu hours with Louisa (Grace Pass\u00f4), his colleague at a local school, and the two even find joy in poking fun at their shared misery. Combining a chic sense\u00a0of<\/span>\u00a0pace and magical long takes, returning ND\/NF director Andr\u00e9 Novais Oliveira (Long Way Home<\/i>, ND\/NF 2019) makes the most unassuming encounter infinitely cool and full\u00a0of<\/span>\u00a0hope.<\/p>\n

Saturday, April 6
<\/span><\/u>12:30pm, MoMA T2<\/span><\/b><\/p>\n

Sunday, April 7
<\/span><\/u>6:30pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

Dreaming & Dying
<\/span><\/b>Nelson Yeo, 2023, Singapore\/Indonesia, 77m
<\/span><\/b>Mandarin, English, and Singlish with English subtitles
<\/span><\/b>North American Premiere
<\/span>High school reunions are invariably awkward, all the more so when only three people show up. At midlife, those three (Peter Yu, Doreen Toh, Kelvin Ho), two married to each other, appear in a peculiar love triangle, unclear if they are grappling with unresolved desires from the past or repressed yearnings\u00a0of<\/span>\u00a0the present. Their romantic entanglement is given a middle-age-appropriate treatment; mysteries\u00a0of<\/span>\u00a0the adult heart find subtly comical expression through a merman, a talking fish, and various surreal scenarios. Channeling Hong Sangsoo\u2019s razor-sharp and at times\u00a0of<\/span>fbeat gaze, as well as Apichatpong Weerasethakul\u2019s affinity for fantasia and nature, Singaporean director Nelson Yeo\u2019s debut feature, winner\u00a0of<\/span>\u00a0the Locarno Film Festival\u2019s Filmmaker\u00a0of<\/span>\u00a0the Present award, combines reality and magic to provide three troubled souls with a moment to dream.<\/p>\n

Thursday, April 11
<\/span><\/u>6:00pm, MoMA T2<\/span><\/b><\/p>\n

Friday, April 12
<\/span><\/u>6:00pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

Exhibiting Forgiveness
<\/span>Titus Kaphar, 2024, U.S., 111m
<\/span><\/b>New York Premiere
<\/span>Titus Kaphar creates powerful work that is multidisciplinary in nature and profound in historical meaning,\u00a0of<\/span>ten incorporating multiple layers and sculptural dimensions to his canvases. Kaphar brings the same sense\u00a0of<\/span>\u00a0profoundly felt dynamism to his startlingly accomplished cinematic debut,\u00a0Exhibiting Forgiveness,<\/i>\u00a0a wrenching work\u00a0of<\/span>\u00a0emotional depth and visual flair starring the magnificent Andr\u00e9 Holland in one\u00a0of<\/span>\u00a0the actor\u2019s greatest screen roles so far. Painter Tarrell Rodin (Holland) is a loving and grounded husband to singer Aisha (Andra Day) and father to young Jermaine (Daniel Berrier), but he\u2019s violently haunted by nightmares\u00a0of<\/span>\u00a0his childhood. While preparing for a\u00a0new<\/span>\u00a0gallery show, Tarrell finds his life upended by the sudden return\u00a0of<\/span>\u00a0his father, La\u2019Ron (John Earl Jelks). His mother, Joyce (Aunjanue Ellis-Taylor), has forgiven La\u2019Ron for the abuse and addiction\u00a0of<\/span>\u00a0their family\u2019s troubled past, but Tarrell cannot bring himself to do the same. While working on his large-scale canvases, Tarrell journeys to his past, wondering if he can alter the pain\u00a0of<\/span>\u00a0his present. Kaphar\u2019s film\u2014as provocative in its depiction\u00a0of<\/span>\u00a0unresolvable familial crises as it is about the meaning and co-opting\u00a0of<\/span>\u00a0Black voices in the contemporary art scene\u2014wrestles with difficult, personal questions without settling on easy answers.<\/p>\n

Friday, April 5
<\/span><\/u>8:30pm, MoMA T2 (Q&A with Titus Kaphar)<\/span><\/b><\/p>\n

Saturday, April 6
<\/span><\/u>12:30pm, FLC Walter Reade Theater (Q&A with Titus Kaphar)<\/span><\/b><\/p>\n

Explanation for Everything
<\/span><\/b>G\u00e1bor Reisz, 2023, Hungary\/Slovakia, 152m
<\/span><\/b>Hungarian with English subtitles
<\/span><\/b>New York Premiere
<\/span>Under intense pressure from home and school to pass his graduation exams, Budapest high school senior Abel finds himself distracted and ultimately derailed by his own nerves as well as his crush on a fellow classmate. However, the simmering anxieties\u00a0of<\/span>\u00a0teenagehood boil over into something far greater than Abel ever could have intended when a minor confrontation between the boy and a teacher becomes a talking point in an escalating generational and political conflict. G\u00e1bor Reisz\u2019s scintillating drama keeps a firm grip on its audience as it unfolds an intricately structured screenplay that\u2019s as tuned in to tiny gestures between people as it is to the grand statements about a contemporary climate in which we are\u00a0of<\/span>ten encouraged to take definitive sides. While\u00a0Explanation for Everything<\/i>\u00a0is specific in its portrait\u00a0of<\/span>\u00a0a contemporary Hungary wrestling with its own political past and nationalist legacy, its diagnoses are universally relevant, and endlessly compelling.<\/p>\n

Friday, April 5
<\/span><\/u>8:30pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

Saturday, April 6
<\/span><\/u>2:30pm, MoMA T2<\/span><\/b><\/p>\n

Foremost By Night
<\/span><\/b>V\u00edctor Iriarte, 2023, Spain\/Portugal\/France, 109m
<\/span><\/b>Spanish with English subtitles
<\/span><\/b>New York Premiere
<\/span>Spanish artist and curator V\u00edctor Iriarte\u2019s debut feature unfolds across four epistolary chapters, following middle-aged Vera (Lola Due\u00f1as) as she emerges from a years-long search for the biological son whom she gave up for adoption at birth, and whose identity and whereabouts were rendered all but untraceable by a callously negligent bureaucracy. When Vera\u2019s letters reach teenaged Egoz (Manuel Egozkue) and his adoptive mother Cora (Ana Torrent), the three\u00a0of<\/span>\u00a0them converge on the banks\u00a0of<\/span>\u00a0Portugal\u2019s Douro River for a long-delayed reunion\u2014and a shared reckoning with the intimate legacies\u00a0of<\/span>\u00a0Spain\u2019s political history. Deceptively airy and noir-inflected, Iriarte\u2019s unhurried, methodical gaze lingers over bodies and structures, interpolating velvety 16mm compositions with tactile close-ups\u00a0of<\/span>\u00a0maps, floor plans, and microfiche\u00a0new<\/span>spaper clippings to evoke the textural and symbolic traces\u00a0of<\/span>\u00a0a family discovering itself.<\/p>\n

Saturday, April 6
<\/span><\/u>8:15pm, MoMA T2 (Q&A with V\u00edctor Iriarte)<\/span><\/b><\/p>\n

Monday, April 8
<\/span><\/u>8:30pm, FLC Walter Reade Theater (Q&A with V\u00edctor Iriarte)<\/span><\/b><\/p>\n

Good One
<\/span><\/b>India Donaldson, 2024, U.S., 90m
<\/span><\/b>New York Premiere
<\/span>A seemingly small incident has monumental implications in the extraordinary feature debut\u00a0of<\/span>\u00a0India Donaldson, a film\u00a0of<\/span>\u00a0expertly harnessed naturalism and restrained emotional intensity. Seventeen-year-old high school senior Sam (a revelatory Lily Collias) has agreed to join her father Chris (James Le Gros) and his longtime buddy Matt (Danny McCarthy) on a camping trip in the Catskills, though she\u2019d rather be hanging with her friends for the weekend. Affable and wise, Sam at first seems to enjoy the intergenerational bonding experience with the two divorced dads, yet the men\u2019s own festering, middle-aged resentments begin to change the emotional tenor\u00a0of<\/span>\u00a0the trip\u2014until something happens that alters Sam\u2019s perception\u00a0of<\/span>\u00a0the men and her place in their orbit. Amidst the lush beauty and contemplative forest atmosphere in upstate\u00a0New<\/span>\u00a0York,\u00a0Good One<\/i>\u00a0asks provocative questions about the dynamics\u00a0of<\/span>\u00a0family, friendship, and what it means to engage in or avoid conflict. A Metrograph Pictures release.<\/p>\n

Thursday, April 4
<\/span><\/u>6:00pm, MoMA T2 (Q&A with India Donaldson and cast)<\/span><\/b><\/p>\n

Saturday, April 6
<\/span><\/u>6:15pm, FLC Walter Reade Theater (Q&A with India Donaldson and cast)<\/span><\/b><\/p>\n

A Good Place
<\/span><\/b>Katharina Huber, 2023, Germany, 108m
<\/span><\/b>German, English, and Italian with English subtitles
<\/span><\/b>North American Premiere
<\/span>Economic yet expansive, at once intricately engaged with present-day anxieties and steeped in a sparingly realized speculative future, the debut feature from Katharina Huber (who has worked largely in animation until now) radically reimagines the hangout film against an apocalyptic backdrop.\u00a0A Good Place<\/i>\u00a0follows the daily routines and companionship\u00a0of<\/span>\u00a0two young women, G\u00fcte (Clara Schwinning) and Margarita (C\u00e9line De Gennaro), who eke out a living in a remote, sparsely inhabited farming village as radio broadcasts describe an unfolding global crisis and count down to the launch\u00a0of<\/span>\u00a0a spacecraft that might save humanity. With an incomparable sense\u00a0of<\/span>\u00a0atmosphere and style, Huber\u2014who wrote, directed, edited, and produced the film\u2014filters and displaces her characters\u2019 fears and comradery onto an enigmatic narrative about survival and isolation. Winner\u00a0of<\/span>\u00a0the awards for best emerging director and best performance (for Schwinning) in the 2023 Locarno Film Festival\u2019s Filmmakers\u00a0of<\/span>\u00a0the Present section.<\/p>\n

Thursday, April 4
<\/span><\/u>8:15pm, MoMA T2 (Q&A with Katharina Huber)<\/span><\/b><\/p>\n

Sunday, April 7
<\/span><\/u>1:00pm, FLC Walter Reade Theater (Q&A with Katharina Huber)<\/span><\/b><\/p>\n

Grace
<\/span><\/b>Ilya Povolotsky, 2023, Russia, 119m
<\/span><\/b>Russian, Georgian, and Karachay-Balkar with English subtitles
<\/span><\/b>New York Premiere
<\/span>A father and daughter duo traverse the vast, winding, and seemingly vacant backroads\u00a0of<\/span>\u00a0rural Russia in a rusted, rambling van that serves as both home and transport for the adolescent and her living parent (mom travels with them in the form\u00a0of<\/span>\u00a0ashes in an urn). Clandestine DVD sales, fleeting sexual encounters, and checkpoint-avoiding detours signal the outlaw lifestyle these two share as they slowly, inevitably drift apart. The \u201croad movie\u201d is about as familiar a genre as any in motion pictures, which is what makes Ilya Povolotsky\u2019s debut fiction feature, which premiered at the 2023 Directors\u2019 Fortnight in Cannes, such a discovery. Echoes\u00a0of<\/span>\u00a0Tarkovsky quiver in the frosty landscapes as we sense the possibility\u00a0of<\/span>\u00a0escape,\u00a0of<\/span>\u00a0individuality.<\/p>\n

Tuesday, April 9
<\/span><\/u>8:30pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

Wednesday, April 10
<\/span><\/u>5:45pm, MoMA T2<\/span><\/b><\/p>\n

Hesitation Wound
<\/span><\/b>Selman Nacar, 2023, Turkey, 84m
<\/span><\/b>Turkish with English subtitles
<\/span><\/b>New York Premiere
<\/span>The unwelcome intrusion\u00a0of<\/span>\u00a0law and society in affairs\u00a0of<\/span>\u00a0the heart, so remarkably limned\u00a0of<\/span>\u00a0late in\u00a0Anatomy\u00a0of<\/span>\u00a0a Fall<\/i>, is a story grippingly told in\u00a0Hesitation Wound<\/i>, following 24 stressful hours in the life\u00a0of<\/span>\u00a0a Turkish criminal lawyer torn between her allegiances to her client, a murder suspect; her mother, who convalesces in a hospital; and the judge, a man\u00a0of<\/span>\u00a0questionable principles. A Dostoyevskian thriller laced with moral anguish,\u00a0Hesitation Wound<\/i>\u00a0places writer-director Selman Nacar in the company\u00a0of<\/span>\u00a0his compatriot Nuri Bilge Ceylan.<\/p>\n

Thursday, April 4
<\/span><\/u>6:00pm, FLC Walter Reade Theater (Q&A with\u00a0<\/span><\/b>Selman Nacar)<\/span><\/b><\/p>\n

Friday, April 5
<\/span><\/u>6:00pm, MoMA T2 (Q&A with\u00a0<\/span><\/b>Selman Nacar)<\/span><\/b><\/p>\n

Intercepted
<\/span><\/b>Oksana Karpovych, 2024, Canada\/France\/Ukraine, 93m
<\/span><\/b>Russian and Ukrainian with English subtitles
<\/span><\/b>North American Premiere
<\/span>In the two years since Russia\u2019s full-scale invasion\u00a0of<\/span>\u00a0Ukraine in 2022, the Security Service\u00a0of<\/span>\u00a0Ukraine has intercepted, recorded, and made public thousands\u00a0of<\/span>\u00a0cell phone calls between Russian soldiers on the front line and their mothers, wives, and girlfriends back home. For her sophomore feature, Ukrainian-Canadian documentarian Oksana Karpovych charted a photojournalistic course across the country in the occupation\u2019s wake to construct a fraught dialectical juxtaposition\u00a0of<\/span>\u00a0sound and image, pairing fragments\u00a0of<\/span>\u00a0those overheard conversations with arresting filmic compositions that capture the unsettled aftermath\u00a0of<\/span>\u00a0invasion. Karpovych\u2019s keen editorial sensitivity produces startling contrasts, drawing out the inherent tension between the soldiers\u2019 casual accounts\u00a0of<\/span>\u00a0looting and violent displacement (coupled with their family members\u2019 muddled and distorted perception\u00a0of<\/span>\u00a0geopolitical realities) and the camera\u2019s deceptively tranquil tableaux\u00a0of<\/span>\u00a0destruction and waste. The result is a document\u00a0of<\/span>\u00a0astonishing discursive power, at once a stark reflection\u00a0of<\/span>\u00a0the Russian imperial project\u2019s callous disregard for civilian lives and a testament to the insidious efficacy\u00a0of<\/span>\u00a0its propaganda machine.<\/p>\n

Friday, April 12
<\/span><\/u>8:15pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

Sunday, April 14
<\/span><\/u>12:30pm, MoMA T2<\/span><\/b><\/p>\n

A Journey in Spring
<\/span><\/b>Wang Ping-Wen and Peng Tzu-Hui, 2023, Taiwan, 90m
<\/span><\/b>Taiwanese Hokkien and Mandarin with English subtitles
<\/span><\/b>North American Premiere
<\/span>With their feature debut, filmmaking duo Wang Ping-Wen and Peng Tzu-Hu have composed a lyrical family vignette\u00a0of<\/span>\u00a0quiet transcendence, poised on the cusp between past and future, city and countryside, life and death. Aging married couple Khim-Hok (Jason King) and Siu-Tuan (Yang Kuei-Mei) share a modest home perched high in the wooded hills outside Taipei, where they bicker, gripe, and commiserate, inhabiting the familiar rhythms\u00a0of<\/span>\u00a0a well-trod daily routine\u2014until a sudden death throws their world into a state\u00a0of<\/span>\u00a0muted disarray and brings the abrupt return\u00a0of<\/span>\u00a0their estranged son. Luminous Super 16mm photography and an intricately textured soundscape cast a mesmerizing, melancholic spell, giving way to a delicate, understated meditation on the before-and-after\u00a0of<\/span>\u00a0loss, and the intractably lingering traces\u00a0of<\/span>\u00a0love.<\/p>\n

Saturday, April 13
<\/span><\/u>3:45pm, MoMA T2 (Q&A with\u00a0<\/span><\/b>Wang Ping-Wen and Peng Tzu-Hui)
<\/span><\/b>
Sunday, April 14
<\/u>3:45pm, FLC Walter Reade Theater (Q&A with\u00a0Wang Ping-Wen and Peng Tzu-Hui)<\/span><\/b><\/p>\n

Lost Country
<\/span>Vladimir Peri\u0161i\u0107<\/span><\/b>, 2023, Serbia\/France\/Luxembourg\/Croatia, 105m
<\/span><\/b>Serbian with English subtitles
<\/span><\/b>New York Premiere
<\/span>Serbian filmmaker Vladimir Peri\u0161i\u0107 evokes a seismic moment in his nation\u2019s past from the vulnerable perspective\u00a0of<\/span>\u00a0a teenager in the riveting and personal drama\u00a0Lost Country<\/i>, which he based on his own experiences. Fifteen-year-old Stefan (Jovan Gini\u0107, winner\u00a0of<\/span>\u00a0the Rising Star Award at Cannes last year) begins to notice a harrowing chasm opening between the way he idealizes his mother (Jasna \u0110uri\u010di\u0107) and how many\u00a0of<\/span>\u00a0his fellow classmates and citizens have begun to see her in her role as the public spokesperson for Slobodan Milo\u0161evi\u0107, the Serbian president ultimately convicted\u00a0of<\/span>\u00a0war crimes committed during the Balkan Wars. Set amidst the 1996 protests that saw university students and opposition party members speaking out against electoral fraud conducted by Milo\u0161evi\u0107\u2019s Socialist Party, Peri\u0161i\u0107\u2019s film functions as both a brutal reckoning with a historical moment that has clear parallels to today, and a compelling coming-of<\/span>-age story under circumstances that young Stefan is only starting to comprehend.<\/p>\n

Thursday, April 11
<\/span><\/u>6:00pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

Friday, April 12
<\/span><\/u>8:45pm, MoMA T2<\/span><\/b><\/p>\n

Malu
<\/span><\/b>Pedro Freire, 2024, Brazil, 103m
<\/span><\/b>Brazilian Portuguese with English subtitles
<\/span><\/b>New York Premiere
<\/span>A blistering performance by Yara de Novaes, volatile, and poignant all at once, is the magnetic centerpiece\u00a0of<\/span>\u00a0Brazilian filmmaker Pedro Freire\u2019s passionate and intensely moving feature debut. Novaes stars as Malu Rocha, a free-spirited actress approaching middle age and constantly at odds with the world and herself. Living with a conservative, religious mother (Juliana Carneiro da Cunha) who fears that Malu\u2019s anti-authoritarian, bohemian approach to life is indicative\u00a0of<\/span>\u00a0a mental breakdown, and reconnecting with a grown daughter (Carol Duarte) who has returned from a stint in France and is also pursuing an artistic life, Malu has idealistic plans to transform her modest home into an arts center for poor local kids. Yet Malu\u2019s erratic behavior and recurrent, explosive battles with her brittle mother leave her vulnerable to a confusing, sometimes cruel world. Based on the life\u00a0of<\/span>\u00a0the director\u2019s mother,\u00a0Malu<\/i>\u00a0is a profoundly felt study\u00a0of<\/span>\u00a0a woman with an all-consuming, unstable love, directed with an intense force to match its unforgettable protagonist.<\/p>\n

Thursday, April 11
<\/span><\/u>8:15pm, MoMA T2<\/span><\/b><\/p>\n

Saturday, April 13
<\/span><\/u>3:00pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

Meezan
<\/span><\/b>Shahab Mihandoust, 2023, Canada\/Iran, 72m
<\/span><\/b>Farsi and Arabic with English subtitles
<\/span><\/b>U.S. Premiere
<\/span>Filmmaker Shahab Mihandoust\u2019s 16mm-shot portrait\u00a0of<\/span>\u00a0the fishing industry in Iran\u2019s Khuzestan province\u2014home to Abadan, the first oil company town in the Middle East and a site\u00a0of<\/span>\u00a0mass destruction and migration during the Iran-Iraq War\u2014is at once an immersive process film about labor and a rich, sensorial account\u00a0of<\/span>\u00a0a former combat zone reorganized by decades\u00a0of<\/span>\u00a0industrialization. Across three distinct chapters, an inquisitive camera and intricately detailed sound design (by Ernst Karel) closely attend to both the individual and collective in the environments that dictate daily life and the scale\u00a0of<\/span>\u00a0production operating along the margins\u00a0of<\/span>\u00a0a petro-capitalist landscape: from the fishermen trawling Abadan\u2019s temperamental coast, to an arduous bartering system on a Bahrain wharf, to a remote shrimp processing-packaging plant operated by women shuttled in from nearby villages. Winner\u00a0of<\/span>\u00a0the 2023 Montreal International Documentary Festival\u00a0New<\/span>\u00a0Vision Award.<\/p>\n

Saturday, April 13
<\/span><\/u>12:45pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

Sunday, April 14
<\/span><\/u>3:00pm, MoMA T2<\/span><\/b><\/p>\n

Of Living Without Illusion
<\/span>Katharina L\u00fcdin, 2023, Germany, 110m
<\/span><\/b>German, Italian, and Norwegian with English subtitles
<\/span><\/b>North American Premiere
<\/span>Embodying the mercurial nature\u00a0of<\/span>\u00a0romantic relationships in all their contradictory facets\u2014hope and despair, joy and cruelty\u2014writer-director Katharina L\u00fcdin\u2019s penetrating feature debut interrogates love and art with a singular expressiveness. At the same time that she\u2019s rehearsing an emotionally difficult play, in which she\u2019s co-starring with her ex-husband, middle-aged Merit (Jenny Schily) is navigating heartbreaking terrain in her everyday life: a rapidly deteriorating relationship with her girlfriend Eva (Anna Bolk), whose feelings\u00a0of<\/span>\u00a0rejection and unrequited love are beginning to consume her. L\u00fcdin further widens the frame to take in the complicated lives\u00a0of<\/span>\u00a0those who are affected by the disillusionment\u00a0of<\/span>\u00a0these two women, including Merit\u2019s increasingly alienated son and his wife. Moving between unnerving restraint and full-throated feeling,\u00a0Of<\/span>\u00a0Living Without Illusion<\/i>\u00a0is an unusually perceptive film reminiscent\u00a0of<\/span>\u00a0the work\u00a0of<\/span>\u00a0fellow German director Angela Schanelec in its abstracted visual approach, yet with a direct, almost Bergman-like intensity as it illustrates the sometimes unbridgeable divides between lovers\u2014and between reality and pretense.<\/p>\n

Sunday, April 7
<\/span><\/u>3:45pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

Monday, April 8
<\/span><\/u>5:45pm, MoMA T2<\/span><\/b><\/p>\n

Omen
<\/span><\/b>Baloji, Belgium, 2023, 95m
<\/span><\/b>English, French, Swahili, and Lingala with English subtitles
<\/span><\/b>New York Premiere
<\/span>The sense\u00a0of<\/span>\u00a0dread that\u00a0of<\/span>ten accompanies being around blood relatives with whom you share no real connection is brought into vivid focus in Belgian rapper Baloji\u2019s debut feature,\u00a0Omen<\/i>. Having been banished to Europe as a baby after a birthmark convinced his mother that he must be a sorcerer, Koffi (Marc Zinga) and his white Belgian fianc\u00e9e Alice (Lucie Debay) embark on a family reconciliation trip to the Democratic Republic\u00a0of<\/span>\u00a0Congo. The kinetic chaos\u00a0of<\/span>\u00a0the return\u2013\u2013missed airport transfers and traffic, bloody noses, family gatherings and judgments\u2013\u2013sets the stage for a visceral reimmersion tale. Winner\u00a0of<\/span>\u00a0the\u00a0New<\/span>\u00a0Voice Prize at Cannes and selected as Belgium\u2019s entry for the 96th Academy Awards,\u00a0Omen<\/i>\u00a0melds the modern and the mystical in mesmerizing fashion. A Utopia release.<\/p>\n

Friday, April 5
<\/span><\/u>6:00pm, FLC Walter Reade Theater (Q&A with Baloji)<\/span><\/b><\/p>\n

Saturday, April 6
<\/span><\/u>6:00pm, MoMA T2 (Q&A with Baloji)<\/span><\/b><\/p>\n

Otro Sol
<\/span>Francisco Rodr\u00edguez Teare, 2023, Chile\/France\/Belgium, 85m
<\/span><\/b>Spanish and Italian with English subtitles
<\/span><\/b>North American Premiere
<\/span>In 1978, a Chilean thief named Alberto Candia entered the grand C\u00e1diz Cathedral in southern Spain, and, it is believed, stole priceless ancient artifacts before being tracked down and killed. In Chilean filmmaker Francisco Rodr\u00edguez Teare\u2019s form-defying feature debut, the maybe-true tale\u00a0of<\/span>\u00a0Candia provides the unstable center\u00a0of<\/span>\u00a0an absorbing inquiry into mythmaking, following a pair\u00a0of<\/span>\u00a0young thieves across the Atacama Desert as they meet a community\u00a0of<\/span>\u00a0local prospectors digging for gold. Through stories that seem to be real and others that can only be fantasy, Teare\u2019s inventive film constantly shifts the borders between truth and fable, while presenting to the viewer the staggering, vast beauty\u00a0of<\/span>\u00a0the mountains, beaches, and rivers\u00a0of<\/span>\u00a0Atacama and Andalusia.<\/p>\n

Sunday, April 7
<\/span><\/u>5:00pm, MoMA T2 (Q&A with\u00a0<\/span><\/b>Francisco Rodr\u00edguez Teare)<\/span><\/b><\/p>\n

Monday, April 8
<\/span><\/u>6:00pm, FLC Walter Reade Theater (Q&A with\u00a0<\/span><\/b>Francisco Rodr\u00edguez Teare)<\/span><\/b><\/p>\n

The Permanent Picture
<\/span><\/b>Laura Ferr\u00e9s, 2023, Spain\/France, 94m
<\/span><\/b>Catalan and Spanish with English subtitles
<\/span><\/b>North American Premiere
<\/span>Who said time heals all wounds? Shot in her hometown\u00a0of<\/span>\u00a0El Prat de Llobregat (located in the southwestern periphery\u00a0of<\/span>\u00a0Barcelona) with an impressive cast\u00a0of<\/span>\u00a0nonprofessional actors, Catalan writer-director Laura Ferr\u00e9s\u2019s alternately tender, clever, and mysterious debut feature mixes realism with melodrama in the story\u00a0of<\/span>\u00a0a fiftysomething casting director who\u2014while on an assignment to find \u201cnormal-looking people\u201d for a left-leaning political party\u2019s campaign video\u2014unwittingly befriends the woman who gave birth to and abandoned her as a teenager in Andalusia.\u00a0The Permanent Picture<\/i>\u00a0is a reunion film unlike any other: a strange yet genuine inquiry into familial love, estrangement, and image-making across generations, and whose thorny references to the legacy\u00a0of<\/span>\u00a0Francoist Spain belie its endlessly generative charm and sense\u00a0of<\/span>\u00a0humor.<\/p>\n

Tuesday, April 9
<\/span><\/u>6:00pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

Wednesday, April 10
<\/span><\/u>8:45pm, MoMA T2<\/span><\/b><\/p>\n

The Rim
<\/span>Alberto Gracia, 2024, Spain, 90m
<\/span><\/b>Spanish and Galician with English subtitles
<\/span><\/b>U.S. Premiere
<\/span>Told in elliptical fashion and moving to a surreal rhythm all its own, director Alberto Gracia\u2019s grimy and dazzlingly dissonant vision takes place in the port city\u00a0of<\/span>\u00a0Ferrol in Galicia, the northwestern region\u00a0of<\/span>\u00a0Spain. Damian (Alfonso M\u00edguez), unkempt and barely scraping by, has returned to his hometown after his father dies. Most recently a failed game show contestant, he becomes the inexplicable victim\u00a0of<\/span>\u00a0mistaken identity when everyone starts referring to him as \u201cCosme\u201d\u2014who happens to be a tour guide who has already disappeared from the movie\u2019s parallel narrative. Both compelling and confounding,\u00a0The Rim<\/i>\u00a0is both an existential portrait\u00a0of<\/span>\u00a0the limits\u00a0of<\/span>\u00a0individual agency and a depiction\u00a0of<\/span>\u00a0a community\u2019s economic struggle.<\/p>\n

Saturday, April 6
<\/span><\/u>8:45pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

Sunday, April 7
<\/span><\/u>2:30pm, MoMA T2<\/span><\/b><\/p>\n

Short\u00a0Films<\/span>:<\/span><\/u><\/b><\/p>\n

Shorts Program I (99m)
<\/span><\/u>Via Dolorosa
<\/span><\/b>Rachel Gutgarts, 2023, France, 11m
<\/span><\/b>Hebrew with English subtitles
<\/span><\/b>New York Premiere
<\/span>Inspired by early photographic techniques,\u00a0Via Dolorosa<\/i>\u00a0is an immersive animation documentary that takes us through Jerusalem\u2019s local punk scene, where director Rachel Gutgarts spent her youth. Hoping to find atonement, Gutgarts depicts instead a permanent state\u00a0of<\/span>\u00a0war hovering over tales\u00a0of<\/span>\u00a0violence, addiction, sexuality, religion, and racism as told by teenagers approaching adulthood.<\/p>\n

Goodbye First Love
<\/span><\/b>Shuli Huang, 2024, U.S., 13m
<\/span><\/b>Mandarin with English subtitles
<\/span><\/b>U.S. Premiere
<\/span>Director and cinematographer Shuli Huang visits his first love in Frankfurt on a dark, rainy day during a work trip in Europe. In a small studio, two men share loving and contradictory memories\u00a0of<\/span>\u00a0their past relationship in Beijing, pointing to tales\u00a0of<\/span>\u00a0what could have been in weary, melancholic silences.<\/p>\n

Shimmering Bodies
<\/span><\/b>In\u00eas Teixeira, 2023, Portugal, 23m
<\/span><\/b>Portuguese with English subtitles
<\/span><\/b>U.S. Premiere
<\/span>As she walks by her high school, Mariana is surprised by Pedro\u2019s invitation to spend the weekend at his parents\u2019 house away from the city. In\u00eas Teixeira\u00a0of<\/span>fers a tender, delicate portrait\u00a0of<\/span>\u00a0young love, shyness, and the shape-shifting experience\u00a0of<\/span>\u00a0sexual awakening by giving oneself to another body yearning for affection.<\/p>\n

Nos \u00celes
<\/span><\/b>Aliha Thalien, 2023, France, 23m
<\/span><\/b>French with English subtitles
<\/span><\/b>North American Premiere
<\/span>As Aliha Thalien\u2019s camera takes us deep into Martinique\u2019s landscape\u2014nature, beaches, ghostly urban spaces, a rock in the ocean where an old slave ship ran aground\u2014young friends discuss their heritage and identity amid the island\u2019s colonial history and political memory, a desire for independence, and a complex relationship with mainland France.<\/p>\n

The Voice\u00a0of<\/span>\u00a0Others
<\/span><\/b>Fatima Kaci, 2023, France, 30m
<\/span><\/b>French and Arabic with English subtitles
<\/span><\/b>New York Premiere
<\/span>A Tunisian interpreter working for asylum services struggles to refuse emotional connections when translating stories\u00a0of<\/span>\u00a0survival and abuse from people seeking another life in France. With rules favoring suspicion against personal tragedies, Fatima Kaci\u00a0films<\/span>\u00a0an institutionalized mistrust\u00a0of<\/span>\u00a0others and a character\u2019s quest for empathy in the choice\u00a0of<\/span>\u00a0words that carry the weight\u00a0of<\/span>\u00a0a nation\u2019s colonial past.<\/p>\n

Saturday, April 6
<\/span><\/u>3:30pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n

Sunday, April 7
<\/span><\/u>12:00pm, MoMA T2<\/span><\/b><\/p>\n

Shorts Program II (71m)
<\/span><\/u>Break no. 1 & Break no. 2
<\/span><\/b>Lei Lei, 2024, China, 18m
<\/span><\/b>Chinese with English subtitles
<\/span><\/b>North American Premiere
<\/span>An assemblage\u00a0of<\/span>\u00a0still images and video work, both real and imagined,\u00a0Break no. 1 & Break no. 2\u00a0<\/i>explores the fragility\u00a0of<\/span>\u00a0human memory as it relates to the moving image and the unconscious. In\u00a0Break no. 1<\/i>, a silent narrator deals with the fallout\u00a0of<\/span>\u00a0a friend\u2019s suicide through dreams after photographs\u00a0of<\/span>\u00a0the two\u00a0of<\/span>\u00a0them together mysteriously disappear. In\u00a0Break no. 2<\/i>, the narrator floats through the endless corridors\u00a0of<\/span>\u00a0a video hall, where the imposition\u00a0of<\/span>\u00a0government censorship affects the ways in which the videotapes advertised there are consumed and remembered.<\/p>\n

The night\u00a0of<\/span>\u00a0the minotaur
<\/span><\/b>Juliana Zuluaga Montoya, 2023, Colombia, 11m
<\/span><\/b>Spanish with English subtitles
<\/span><\/b>North American Premiere
<\/span>In a fantastic tale spun from archival material, Juliana Zuluaga Montoya explores the origins\u00a0of<\/span>\u00a0pornographic cinema in Colombia, sparked by Luz Emilia Garc\u00eda. In early-20th-century Colombia, in a small village surrounded by enigmatic wilderness, Garc\u00eda becomes the master\u00a0of<\/span>\u00a0ceremonies presiding over the debaucherous Night\u00a0of<\/span>\u00a0the Minotaur.<\/p>\n

Kill \u2019Em All
<\/span><\/b>Sebastian Molina Ruiz, 2023, Mexico, 19m
<\/span><\/b>Spanish with English subtitles
<\/span><\/b>North American Premiere
<\/span>In this coming-of<\/span>-age story, teenagers Mila and Carolina are close confidantes who live on opposite sides\u00a0of<\/span>\u00a0Mexico City. They exchange diaristic videos that document their experiences growing up and their feelings toward the obligations, both familial and personal, they each face. Eventually, they decide to meet in person.<\/p>\n

The Porn Selector
<\/span><\/b>Lou Fauroux, 2024, France, 13m
<\/span><\/b>World Premiere
<\/span>Lou Fauroux\u2019s\u00a0The Internet Collapse<\/i>\u00a0project asks: is there life after the Internet? The first installment in this series,\u00a0The Porn Selector,<\/i>\u00a0follows former porn star turned porn producer Kasey Warner, who aims to corner the post-Internet market on pornography by selecting, downloading, and preserving different types\u00a0of<\/span>\u00a0porn before they disappear. Innovatively using a variety\u00a0of<\/span>\u00a0digital production techniques, Fauroux guides us through the ethical quandaries and quagmires\u00a0of<\/span>\u00a0the Internet as we know it\u2013\u2013in all its unrelenting, omnipresent glory.<\/p>\n

Digital Devil Saga
<\/span><\/b>Cameron Worden, 2024, U.S., 35mm, 11m
<\/span><\/b>North American Premiere
<\/span><\/b>STROBE WARNING FOR PHOTOSENSITIVE VIEWERS
<\/span><\/i>A dizzying blend\u00a0of<\/span>\u00a0.jpg, GIF, and .mov images scoured from every corner\u00a0of<\/span>\u00a0the Internet are set, one image for each frame, to a soundtrack featuring heavy hitters from Chicago\u2019s drill rap scene. Printed and presented on archival-grade 35mm ESTAR Base film stock, Cameron Worden\u2019s film ensures that the not-so-blessed digital imagery\u00a0of<\/span>\u00a0the 21st century will be preserved for decades to come.<\/p>\n

Monday, April 8
<\/span><\/u>8:30pm, MoMA T2<\/span><\/b><\/p>\n

Wednesday, April 10
<\/span><\/u>8:30pm, FLC Walter Reade Theater<\/span><\/b><\/p>\n<\/div>\n<\/div>\n

\n
\n

Films Schedule By Date and Venue<\/u><\/b><\/p>\n<\/div>\n<\/div>\n

\n
\n

 <\/p>\n

All, or Nothing at All (124m)
Thursday, April 11
8:30pm, FLC Walter Reade Theater (Q&A with\u00a0Jiajun \u201cOscar\u201d Zhang)
Friday, April 12
5:45pm, MoMA T2 (Q&A with\u00a0Jiajun \u201cOscar\u201d Zhang)<\/p>\n

Blackbird Blackbird Blackberry (110m)
Saturday, April 13
1:00pm, MoMA T2
Sunday, April 14
6:15pm, FLC Walter Reade Theater<\/p>\n

Blaga\u2019s Lessons (114m)
Tuesday, April 9
8:30pm, MoMA T2
Sunday, April 14
1:00pm, FLC Walter Reade Theater<\/p>\n

Cu Li Never Cries\u00a0(92m)
Tuesday, April 9
6:00pm, MoMA T2
Wednesday, April 10
6:00pm, FLC Walter Reade Theater<\/p>\n

The Day I Met You (71m)
Saturday, April 6
12:30pm, MoMA T2
Sunday, April 7
6:30pm, FLC Walter Reade Theater<\/p>\n

Dreaming & Dying (77m)
Thursday, April 11
6:00pm, MoMA T2
Friday, April 12
6:00pm, FLC Walter Reade Theater<\/p>\n

Exhibiting Forgiveness\u00a0(111m)
Friday, April 5
8:30pm, MoMA T2 (Q&A with Titus Kaphar)
Saturday, April 6
12:30pm, FLC Walter Reade Theater (Q&A with Titus Kaphar)<\/p>\n

Explanation for Everything (152m)
Friday, April 5
8:30pm, FLC Walter Reade Theater
Saturday, April 6
2:30pm, MoMA T2<\/p>\n

Foremost By Night (109m)
Saturday, April 6
8:15pm, MoMA T2 (Q&A with V\u00edctor Iriarte)
Monday, April 8
8:30pm, FLC Walter Reade Theater (Q&A with V\u00edctor Iriarte)<\/p>\n

Good One (90m)
Thursday, April 4
6:00pm, MoMA T2\u00a0 (Q&A with India Donaldson and cast)
Saturday, April 6
6:15pm, FLC Walter Reade Theater (Q&A with India Donaldson and cast)<\/p>\n

A Good Place (108m)
Thursday, April 4
8:15pm, MoMA T2 (Q&A with Katharina Huber)
Sunday, April 7
1:00pm, FLC Walter Reade Theater (Q&A with Katharina Huber)<\/p>\n

Grace (119m)
Tuesday, April 9
8:30pm, FLC Walter Reade Theater
Wednesday, April 10
5:45pm, MoMA T2<\/p>\n

Hesitation Wound (84m)
Thursday, April 4
6:00pm, FLC Walter Reade Theater (Q&A with\u00a0Selman Nacar)
Friday, April 5
6:00pm, MoMA T2 (Q&A with\u00a0Selman Nacar)<\/p>\n

Intercepted (93m)
Friday, April 12
8:15pm, FLC Walter Reade Theater
Sunday, April 14
12:30pm, MoMA T2<\/p>\n

A Journey in Spring (90m)
Saturday, April 13
3:45pm, MoMA T2 (Q&A with\u00a0Wang Ping-Wen and Peng Tzu-Hui)
Sunday, April 14
3:45pm, FLC Walter Reade Theater (Q&A with\u00a0Wang Ping-Wen and Peng Tzu-Hui)<\/p>\n

Lost Country (105m)
Thursday, April 11
6:00pm, FLC Walter Reade Theater
Friday, April 12
8:45pm, MoMA T2<\/p>\n

Malu (103m)
Thursday, April 11
8:15pm, MoMA T2
Saturday, April 13
3:00pm, FLC Walter Reade Theater<\/p>\n

Meezan (72m)
Saturday, April 13
12:45pm, FLC Walter Reade Theater
Sunday, April 14
3:00pm, MoMA T2<\/p>\n

Of Living Without Illusion (110m)
Sunday, April 7
3:45pm, FLC Walter Reade Theater
Monday, April 8
5:45pm, MoMA T2<\/p>\n

Omen (95m)
Friday, April 5
6:00pm, FLC Walter Reade Theater (Q&A with Baloji)
Saturday, April 6
6:00pm, MoMA T2 (Q&A with Baloji)<\/p>\n

Otro Sol (85m)
Sunday, April 7
5:00pm, MoMA T2 (Q&A with\u00a0Francisco Rodr\u00edguez Teare)
Monday, April 8
6:00pm, FLC Walter Reade Theater (Q&A with\u00a0Francisco Rodr\u00edguez Teare)<\/p>\n

The Permanent Picture
Tuesday, April 9
6:00pm, FLC Walter Reade Theater
Wednesday, April 10
8:45pm, MoMA T2<\/p>\n

The Rim (90m)
Saturday, April 6
8:45pm, FLC Walter Reade Theater
Sunday, April 7
2:30pm, MoMA T2<\/p>\n

Shorts Program I (99m)
Films<\/span>\u00a0are listed in the order that they will screen
Via Dolorosa\u00a0
Goodbye First Love\u00a0
Shimmering Bodies\u00a0
Nos \u00celes\u00a0
The Voice\u00a0of<\/span>\u00a0Others\u00a0
Saturday, April 6
3:30pm, FLC Walter Reade Theater
Sunday, April 7
12:00pm, MoMA T2<\/p>\n

Shorts Program II (71m)
Films<\/span>\u00a0are listed in the order that they will screen
Break no. 1 & Break no. 2
The night\u00a0of<\/span>\u00a0the minotaur\u00a0
Kill \u2019Em All\u00a0
The Porn Selector\u00a0
Digital Devil Saga\u00a0
Monday, April 8
8:30pm, MoMA T2
Wednesday, April 10
8:30pm, FLC Walter Reade Theater<\/p>\n<\/div>\n<\/div>\n

\n
\n

FILM AT LINCOLN CENTER
<\/span><\/u>Film at Lincoln Center (FLC) is a nonprofit organization that celebrates cinema as an essential art form and fosters a vibrant home for film culture to thrive. FLC presents premier film festivals, retrospectives,\u00a0new<\/span>\u00a0releases, and restorations year-round in state-of<\/span>-the-art theaters at\u00a0New<\/span>\u00a0York\u2019s Lincoln Center for the Performing Arts. FLC\u00a0of<\/span>fers audiences the opportunity to discover works from established and emerging directors from around the world with a passionate community\u00a0of<\/span>\u00a0film lovers at marquee events including the\u00a0New<\/span>\u00a0York Film Festival and\u00a0New<\/span>\u00a0Directors\/New<\/span><\/span>\u00a0Films<\/span>.<\/p>\n

Founded in 1969, FLC is committed to preserving the excitement\u00a0of<\/span>\u00a0the theatrical experience for all audiences, advancing high-quality film journalism through the publication\u00a0of<\/span>\u00a0Film Comment<\/i>, cultivating the next generation\u00a0of<\/span>\u00a0film industry professionals through our FLC Academies, and enriching the lives\u00a0of<\/span>\u00a0all who engage with our programs.<\/span><\/p>\n

Film at Lincoln Center funding for\u00a0New<\/span>\u00a0Directors\/New<\/span><\/span>\u00a0Films<\/span>\u00a0is provided in part by Film at Lincoln Center\u2019s\u00a0New<\/span>\u00a0Wave Membership Program, the National Endowment for the Arts, and the\u00a0New<\/span>\u00a0York State Council on the Arts with the support\u00a0of<\/span>\u00a0the\u00a0Of<\/span>fice\u00a0of<\/span>\u00a0the Governor and the\u00a0New<\/span>\u00a0York State Legislature. American Airlines is the\u00a0of<\/span>ficial airline\u00a0of<\/span>\u00a0Film at Lincoln Center. Travel support provided by German\u00a0Films<\/span>; Unifrance; and Taipei Cultural Center in\u00a0New<\/span>\u00a0York, Ministry\u00a0of<\/span>\u00a0Culture, ROC (Taiwan). For more information, visit\u00a0<\/span>filmlinc.org<\/a><\/span>\u00a0and follow @filmlinc on\u00a0<\/span>X<\/a><\/span>\u00a0and\u00a0<\/span>Instagram<\/a><\/span>.<\/span><\/p>\n

THE MUSEUM\u00a0OF<\/span>\u00a0MODERN ART
<\/span><\/u><\/b>The Museum\u00a0of<\/span>\u00a0Modern Art\u2019s Department\u00a0of<\/span>\u00a0Film marked its 80th anniversary in 2015. Originally founded in 1935 as the Film Library, the Department\u00a0of<\/span>\u00a0Film is a dedicated champion\u00a0of<\/span>\u00a0cinema past, present, and future. With one\u00a0of<\/span>\u00a0the strongest international collections\u00a0of<\/span>\u00a0motion pictures in the world\u2014totaling more than 30,000\u00a0films<\/span>\u00a0between the permanent and study collections\u2014the Department\u00a0of<\/span>\u00a0Film is a leader in film preservation and a discoverer\u00a0of<\/span>\u00a0emerging talent.<\/p>\n

Through The Celeste Bartos Film Preservation Center, a state-of<\/span>-the-art storage facility in Hamlin, Pennsylvania, MoMA restores and preserves\u00a0films<\/span>\u00a0that are shown across the world and in many\u00a0of<\/span>\u00a0the Museum\u2019s diverse programs, most notably in To Save and Project: The Annual MoMA International Festival\u00a0of<\/span>\u00a0Film Preservation. The Department\u00a0of<\/span>\u00a0Film engages with current cinema by honoring\u00a0films<\/span>\u00a0and filmmakers that will have a lasting historical significance through its annual Film Benefit, which raises funds for the continued maintenance and growth\u00a0of<\/span>\u00a0the collection, and The Contenders series, an annual series\u00a0of<\/span>\u00a0the year\u2019s best movies, as selected by MoMA Film curators from major studio releases and top film festivals.<\/span><\/p>\n

Always looking to the future, the Department\u00a0of<\/span>\u00a0Film is constantly unearthing emerging talent and providing a venue for young filmmakers through programs such as\u00a0New<\/span>\u00a0Directors\/New<\/span><\/span>\u00a0Films<\/span>\u00a0and Documentary Fortnight. Playing an essential role in MoMA\u2019s mission to collect, preserve, and exhibit modern and contemporary art, the department was awarded an Honorary Academy Award in 1978 \u201cfor the contribution it has made to the public\u2019s perception\u00a0of<\/span>\u00a0movies as an art form.\u201d<\/span><\/p>\n

Film at MoMA is made possible by CHANEL. Additional support is provided by the Annual Film Fund. For more information, visit<\/span>\u00a0moma.org<\/a><\/span>\u00a0and follow<\/span>\u00a0@MoMAFilm<\/a><\/span>\u00a0and<\/span>\u00a0@MuseumModernArt<\/a><\/span>\u00a0on\u00a0<\/span>X<\/a><\/span>\u00a0and<\/span>\u00a0@themuseumofmodernart<\/a><\/span>\u00a0on Instagram.<\/span><\/p>\n

 <\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

FeaturesAll, or Nothing at All\u00a0dir. Jiajun \u201cOscar\u201d ZhangBlackbird Blackbird Blackberry\u00a0dir. Elene NaverianiBlaga\u2019s Lessons\u00a0dir. Stephan KomandarevCu Li Never Cries\u00a0dir. Pham Ngoc L\u00e2nThe Day I Met You\u00a0dir. Andr\u00e9 Novais OliveiraA Different Man\u00a0dir. Aaron SchimbergDreaming & Dying\u00a0dir. Nelson YeoExhibiting Forgiveness\u00a0dir. Titus KapharExplanation for Everything\u00a0dir. G\u00e1bor ReiszForemost By Night\u00a0dir. V\u00edctor IriarteGood One\u00a0dir. India DonaldsonA Good Place\u00a0dir. Katharina HuberGrace\u00a0dir. Ilya…<\/p>\n","protected":false},"author":2,"featured_media":22437,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[335],"tags":[21043,20338,21052,21055,21044,21046,21047,19971,21049,19313,21050,604,21051,19314,21053,21054,19335,21056,8966,21057,6711,21045,21058,19319,21048,21059,21060],"acf":[],"yoast_head":"\nThe 53rd Edition of New Directors\/New Films Lineup<\/title>\n<meta name=\"description\" content=\"The 53rd Edition of New Directors\/New Films Lineup, MoMA and FLC announce the complete lineup, between April 3~14th\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cinemadailyus.com\/?p=22436\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The 53rd Edition of New Directors\/New Films Lineup\" \/>\n<meta property=\"og:description\" content=\"The 53rd Edition of New Directors\/New Films Lineup, MoMA and FLC announce the complete lineup, between April 3~14th\" \/>\n<meta property=\"og:url\" content=\"https:\/\/cinemadailyus.com\/?p=22436\" \/>\n<meta property=\"og:site_name\" content=\"Cinema Daily US\" \/>\n<meta property=\"article:published_time\" content=\"2024-03-12T15:50:48+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2024\/03\/New-DirectorsNew-Films.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1600\" \/>\n\t<meta property=\"og:image:height\" content=\"900\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Nobuhiro Hosoki\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Nobuhiro Hosoki\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"31 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/cinemadailyus.com\/?p=22436\",\"url\":\"https:\/\/cinemadailyus.com\/?p=22436\",\"name\":\"The 53rd Edition of New Directors\/New Films Lineup\",\"isPartOf\":{\"@id\":\"https:\/\/cinemadailyus.com\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/cinemadailyus.com\/?p=22436#primaryimage\"},\"image\":{\"@id\":\"https:\/\/cinemadailyus.com\/?p=22436#primaryimage\"},\"thumbnailUrl\":\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2024\/03\/New-DirectorsNew-Films.png\",\"datePublished\":\"2024-03-12T15:50:48+00:00\",\"dateModified\":\"2024-03-12T15:50:48+00:00\",\"author\":{\"@id\":\"https:\/\/cinemadailyus.com\/#\/schema\/person\/a39aff30168e5736b19e3486a7747bd3\"},\"description\":\"The 53rd Edition of New Directors\/New Films Lineup, MoMA and FLC announce the complete lineup, between April 3~14th\",\"breadcrumb\":{\"@id\":\"https:\/\/cinemadailyus.com\/?p=22436#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/cinemadailyus.com\/?p=22436\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/cinemadailyus.com\/?p=22436#primaryimage\",\"url\":\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2024\/03\/New-DirectorsNew-Films.png\",\"contentUrl\":\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2024\/03\/New-DirectorsNew-Films.png\",\"width\":1600,\"height\":900,\"caption\":\"New Directors\/New Films\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/cinemadailyus.com\/?p=22436#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/cinemadailyus.com\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"MoMA and FLC Announce the Complete Lineup for the 53rd Edition of New Directors\/New Films, April 3-14\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/cinemadailyus.com\/#website\",\"url\":\"https:\/\/cinemadailyus.com\/\",\"name\":\"Cinema Daily US\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/cinemadailyus.com\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/cinemadailyus.com\/#\/schema\/person\/a39aff30168e5736b19e3486a7747bd3\",\"name\":\"Nobuhiro Hosoki\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/cinemadailyus.com\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2021\/02\/Nobuhiro-Hosoki-150x150.jpg\",\"contentUrl\":\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2021\/02\/Nobuhiro-Hosoki-150x150.jpg\",\"caption\":\"Nobuhiro Hosoki\"},\"description\":\"Nobuhiro Hosoki grew up watching American films since he was a kid; he decided to go to the United States thanks to seeing the artistry of Stanley Kubrick's \\\"A Clockwork Orange.\u201d After graduating from film school, he worked as an assistant director on TV Tokyo\u2019s program called \\\"Morning Satellite\\\" at the New York branch office but he didn\u2019t give up on his interest in cinema. He became a film reporter for via Yahoo Japan News. In that role, he writes news articles, picks out headliners for Yahoo News, as well as interviewing Hollywood film directors, actors, and producers working in the domestic circuit in the USA. He also does production interviews for Japanese distributors of American films and for in-theater on-sale programs. He is now the editor-in-chief of Cinemadailyus.com while continuing his work for Japan.\",\"sameAs\":[\"https:\/\/www.cinemadailyus.com\"],\"url\":\"https:\/\/cinemadailyus.com\/?author=2\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"The 53rd Edition of New Directors\/New Films Lineup","description":"The 53rd Edition of New Directors\/New Films Lineup, MoMA and FLC announce the complete lineup, between April 3~14th","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/cinemadailyus.com\/?p=22436","og_locale":"en_US","og_type":"article","og_title":"The 53rd Edition of New Directors\/New Films Lineup","og_description":"The 53rd Edition of New Directors\/New Films Lineup, MoMA and FLC announce the complete lineup, between April 3~14th","og_url":"https:\/\/cinemadailyus.com\/?p=22436","og_site_name":"Cinema Daily US","article_published_time":"2024-03-12T15:50:48+00:00","og_image":[{"width":1600,"height":900,"url":"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2024\/03\/New-DirectorsNew-Films.png","type":"image\/png"}],"author":"Nobuhiro Hosoki","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Nobuhiro Hosoki","Est. reading time":"31 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/cinemadailyus.com\/?p=22436","url":"https:\/\/cinemadailyus.com\/?p=22436","name":"The 53rd Edition of New Directors\/New Films Lineup","isPartOf":{"@id":"https:\/\/cinemadailyus.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/cinemadailyus.com\/?p=22436#primaryimage"},"image":{"@id":"https:\/\/cinemadailyus.com\/?p=22436#primaryimage"},"thumbnailUrl":"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2024\/03\/New-DirectorsNew-Films.png","datePublished":"2024-03-12T15:50:48+00:00","dateModified":"2024-03-12T15:50:48+00:00","author":{"@id":"https:\/\/cinemadailyus.com\/#\/schema\/person\/a39aff30168e5736b19e3486a7747bd3"},"description":"The 53rd Edition of New Directors\/New Films Lineup, MoMA and FLC announce the complete lineup, between April 3~14th","breadcrumb":{"@id":"https:\/\/cinemadailyus.com\/?p=22436#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/cinemadailyus.com\/?p=22436"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/cinemadailyus.com\/?p=22436#primaryimage","url":"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2024\/03\/New-DirectorsNew-Films.png","contentUrl":"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2024\/03\/New-DirectorsNew-Films.png","width":1600,"height":900,"caption":"New Directors\/New Films"},{"@type":"BreadcrumbList","@id":"https:\/\/cinemadailyus.com\/?p=22436#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/cinemadailyus.com\/"},{"@type":"ListItem","position":2,"name":"MoMA and FLC Announce the Complete Lineup for the 53rd Edition of New Directors\/New Films, April 3-14"}]},{"@type":"WebSite","@id":"https:\/\/cinemadailyus.com\/#website","url":"https:\/\/cinemadailyus.com\/","name":"Cinema Daily US","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/cinemadailyus.com\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/cinemadailyus.com\/#\/schema\/person\/a39aff30168e5736b19e3486a7747bd3","name":"Nobuhiro Hosoki","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/cinemadailyus.com\/#\/schema\/person\/image\/","url":"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2021\/02\/Nobuhiro-Hosoki-150x150.jpg","contentUrl":"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2021\/02\/Nobuhiro-Hosoki-150x150.jpg","caption":"Nobuhiro Hosoki"},"description":"Nobuhiro Hosoki grew up watching American films since he was a kid; he decided to go to the United States thanks to seeing the artistry of Stanley Kubrick's \"A Clockwork Orange.\u201d After graduating from film school, he worked as an assistant director on TV Tokyo\u2019s program called \"Morning Satellite\" at the New York branch office but he didn\u2019t give up on his interest in cinema. He became a film reporter for via Yahoo Japan News. In that role, he writes news articles, picks out headliners for Yahoo News, as well as interviewing Hollywood film directors, actors, and producers working in the domestic circuit in the USA. He also does production interviews for Japanese distributors of American films and for in-theater on-sale programs. He is now the editor-in-chief of Cinemadailyus.com while continuing his work for Japan.","sameAs":["https:\/\/www.cinemadailyus.com"],"url":"https:\/\/cinemadailyus.com\/?author=2"}]}},"_links":{"self":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/posts\/22436"}],"collection":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=22436"}],"version-history":[{"count":0,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/posts\/22436\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/media\/22437"}],"wp:attachment":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=22436"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=22436"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=22436"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}