{"id":25341,"date":"2024-08-06T11:48:36","date_gmt":"2024-08-06T15:48:36","guid":{"rendered":"https:\/\/cinemadailyus.com\/?p=25341"},"modified":"2024-08-07T01:36:01","modified_gmt":"2024-08-07T05:36:01","slug":"new-york-film-festival-62-main-slate-selections","status":"publish","type":"post","link":"https:\/\/cinemadailyus.com\/?p=25341","title":{"rendered":"New York Film Festival 62 : Main Slate Selections"},"content":{"rendered":"
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FILM AT LINCOLN CENTER ANNOUNCES<\/span><\/b><\/div>\n
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MAIN SLATE SELECTIONS FOR<\/div>\n

THE 62nd NEW YORK FILM FESTIVAL<\/b><\/h1>\n<\/div>\n
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32 features including new films from Pedro Almod\u00f3var<\/a>, Sean Baker<\/a>, Brady Corbet, David Cronenberg<\/a>, Nelson Carlos de los Santos Arias, Robinson Devor, Mati Diop, Miguel Gomes, Alain Guiraudie, Hong Sangsoo, Jia Zhangke, Payal Kapadia, Dea Kulumbegashvili, Mike Leigh, Philippe Lesage, Julia Loktev, Carson Lund, Pia Marais, Steve McQueen, Roberto Minervini, Rungano Nyoni, Mohammad Rasoulof, RaMell Ross, Paul Schrader, Neo Sora, Tr\u01b0\u01a1ng Minh Qu\u00fd, Athina Rachel Tsangari, Wang Bing, Yeo Siew Hua, and Basel Adra, Hamdan Ballal, Yuval Abraham, and Rachel Szor<\/b><\/p>\n

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Main Slate features films from 24 countries, 18 directors making their NYFF Main Slate debut, celebrated films from festivals worldwide, and two World, five North American, and 16 U.S. premieres<\/b><\/p>\n

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Select NYFF62 films will screen in partner venues at Alamo Drafthouse Cinema (Staten Island), BAM (Brooklyn Academy of Music) (Brooklyn), The Bronx Museum (Bronx), and the Museum of the Moving Image (Queens)\u00a0<\/b><\/div>\n

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New York, NY (Aug. 6, 2024)\u00a0<\/b>\u2013 Film at Lincoln Center (FLC) announces the 32 films that comprise the Main Slate of the 62nd New York Film Festival (NYFF), taking place September 27\u2013October 14 at Lincoln Center and in four partner venues across the city: Alamo Drafthouse Cinema (Staten Island), BAM (Brooklyn Academy of Music) (Brooklyn), The Bronx Museum (Bronx), and the Museum of the Moving Image (Queens). Secure your seats with Festival Passes,\u00a0limited quantities on sale now<\/a>\u00a0with discounts through August 20. Single tickets go on sale September 17 at noon ET.<\/p>\n

This year\u2019s Main Slate showcases films across 24 different countries, featuring new titles from renowned auteurs and returning NYFF filmmakers, 18 directors making their NYFF Main Slate debut, and celebrated films from festivals worldwide including Cannes prizewinners: Payal Kapadia\u2019s\u00a0All We Imagine as Light\u00a0<\/i>(Grand Prize), Sean Baker\u2019s\u00a0Anora\u00a0<\/i>(Palme d\u2019Or), Roberto Minervini\u2019s\u00a0The Damned\u00a0<\/i>(Best Director, Un Certain Regard, shared with Rungano Nyoni), Miguel Gomes\u2019s\u00a0Grand Tour<\/i>\u00a0(Best Director), Rungano Nyoni\u2019s\u00a0On Becoming a Guinea Fowl\u00a0<\/i>(Best Director, Un Certain Regard, shared with Roberto Minervini), and Mohammad Rasoulof\u2019s\u00a0The Seed of the Sacred Fig\u00a0<\/i>(Special Prize). At this year\u2019s Berlinale, Mati Diop\u2019s\u00a0Dahomey\u00a0<\/i>won the Golden Bear; Hong Sangsoo\u2019s\u00a0A Traveler\u2019s Needs<\/i>\u00a0received the Silver Bear Grand Jury Prize;\u00a0No Other Land<\/i>, directed by Basel Adra, Hamdan Ballal, Yuval Abraham, and Rachel Szor, took the Panorama Audience Award and the Berlinale Documentary Award; and Philippe Lesage\u2019s\u00a0Who by Fire<\/i>\u00a0won the Grand Prize of the Generation section.<\/p>\n

\u201cThe festival\u2019s ambition is to reflect the state of cinema in a given year, which often means also reflecting the state of the world,\u201d said Dennis Lim, Artistic Director, New York Film Festival. \u201cThe most notable thing about the films in the Main Slate\u2014and in the other sections that we will announce in the coming weeks\u2014is the degree to which they emphasize cinema\u2019s relationship to reality. They are reminders that, in the hands of its most vital practitioners, film has the capacity to reckon with, intervene in, and reimagine the world.\u201d<\/p>\n

World premieres from two uncompromising U.S. directors will be featured: Robinson Devor\u2019s\u00a0Suburban Fury<\/i>, a nonfiction portrait of would-be presidential assassin Sara Jane Moore dramatized against the background of 1970s political unrest and militancy; and Julia Loktev\u2019s\u00a0My Undesirable Friends: Part I \u2014 Last Air in Moscow<\/i>, a documentary on the persistence of independent journalism in Putin\u2019s Russia during the period leading up to the full-scale invasion of Ukraine. Beyond these two timely films, the festival lineup directly and indirectly addresses a range of socio-political concerns from the legacy of war and colonialism to the impact of a globalized economy to contemporary anxieties over authoritarianism and surveillance.<\/p>\n

Of special note, two esteemed directors will each bring two films to the festival: Hong Sangsoo\u2019s 22nd and 23rd Main Slate appearances with\u00a0A Traveler\u2019s Needs<\/i>\u00a0and\u00a0By the Stream<\/i>; and following Wang Bing\u2019s U.S. premiere of\u00a0Youth (Spring)\u00a0<\/i>at NYFF61, the remaining chapters of the \u201cYouth\u201d trilogy:\u00a0Youth (Hard Times)<\/i>\u00a0and\u00a0Youth (Homecoming)<\/i>, which will have respective world premieres at the Locarno Film Festival and the Venice Film Festival. FLC also welcomes the return of many acclaimed filmmakers, among them David Cronenberg with\u00a0The Shrouds<\/i>; Alain Guiraudie with\u00a0Misericordia<\/i>; Mike Leigh with\u00a0Hard Truths<\/i>; and Paul Schrader with\u00a0Oh, Canada<\/i>.<\/p>\n

Directors making their NYFF Main Slate debut are Brady Corbet, Nelson Carlos de los Santos Arias, Payal Kapadia, Philippe Lesage, Carson Lund, Pia Marais, Roberto Minervini, Rungano Nyoni, Mohammad Rasoulof, RaMell Ross, Neo Sora, Tr\u01b0\u01a1ng Minh Qu\u00fd, Athina Rachel Tsangari, Yeo Siew Hua, and the collective of Basel Adra, Hamdan Ballal, Yuval Abraham, and Rachel Szor. De los Santos Arias, Kapadia, Minervini, Sora, Tr\u01b0\u01a1ng, and Tsangari have previously shown their work in other sections of NYFF; Lesage, Marais, Ross, and Yeo have been featured in New Directors\/New Films.<\/p>\n

As previously announced, the Opening Night selection is RaMell Ross\u2019s\u00a0Nickel Boys<\/i>; Pedro Almod\u00f3var\u2019s 15th NYFF selection,\u00a0The Room Next Door<\/i>, is the Centerpiece; and Steve McQueen\u2019s eighth NYFF selection,\u00a0Blitz<\/i>, is Closing Night. Currents, Revivals, Spotlight, and Talks sections will be announced in the coming weeks\u2013\u2013sign up for NYFF updates<\/a>\u00a0for the latest news.<\/p>\n

The\u00a0NYFF Main Slate selection committee<\/a>\u00a0is chaired by Dennis Lim, NYFF Artistic Director, and includes Florence Almozini, Justin Chang, K. Austin Collins, and Rachel Rosen.<\/p>\n

NYFF62 is generously supported by Co-Chairs\u00a0Almudena and Pablo Legorreta,\u00a0<\/i>Imelda and Peter Sobiloff, and Nanna and Dan Stern; and Vice-Chairs Susannah Gray and John Lyons, and Tara Kelleher and Roy Zuckerberg.<\/p>\n

All NYFF62 documentaries are presented by HBO\u00ae.<\/p>\n

Presented by Film at Lincoln Center, the New York Film Festival is an annual showcase of the best in world cinema. Since 1963, NYFF has shaped film culture and continues an enduring tradition of introducing audiences to bold and remarkable works from celebrated filmmakers as well as fresh new talent. The 62nd edition of the festival takes place September 27\u2013October 14, 2024.<\/p>\n

Secure your seats with Festival Passes,\u00a0limited quantities on sale now<\/a>\u00a0with discounts through August 20. NYFF62 single tickets will go on sale to the general public on Tuesday, September 17 at noon ET, with\u00a0pre-sale access<\/a>\u00a0for\u00a0FLC Members<\/a>\u00a0and Pass holders prior to this date. Become an\u00a0FLC Member<\/a>\u00a0by August 13 to secure pre-sale access.\u00a0NYFF62 press and industry accreditation<\/a>\u00a0is now open through August 19.<\/p>\n<\/ins>\n

62nd New York Film Festival Main Slate<\/b><\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Opening Night
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Nickel Boys
\n<\/b>Dir. RaMell Ross<\/p>\n

Centerpiece
\n<\/span><\/b><\/h1>\n

The Room Next Door
\n<\/b>Dir. Pedro Almod\u00f3var<\/p>\n

Closing Night
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Blitz
\n<\/b>Dir. Steve McQueen<\/p>\n

Rest of the selections.<\/p>\n

All We Imagine as Light<\/strong>
\nDir. Payal Kapadia<\/p>\n

Anora<\/strong>
\nDir. Sean Baker<\/p>\n

April<\/strong>
\nDir. Dea Kulumbegashvili<\/p>\n

The Brutalist<\/strong>
\nDir. Brady Corbet<\/p>\n

By the Stream<\/strong>
\nDir. Hong Sangsoo<\/p>\n

Caught by the Tides<\/strong>
\n<\/b>Dir. Jia Zhangke<\/p>\n

Dahomey<\/strong>
\nDir. Mati Diop<\/p>\n

The Damned
\n<\/strong>Dir. Roberto Minervini<\/p>\n

Eephus<\/strong>
\nDir. Carson Lund<\/p>\n

Grand Tour<\/strong>
\nDir. Miguel Gomes<\/p>\n

Happyend<\/strong>
\n<\/b>Dir. Neo Sora<\/p>\n

Hard Truths<\/strong>
\nDir. Mike Leigh<\/p>\n

Harvest<\/strong>
\nDir. Athina Rachel Tsangari<\/p>\n

Misericordia<\/strong>
\nDir. Alain Guiraudie<\/p>\n

My Undesirable Friends: Part I \u2014 Last Air in Moscow<\/strong>
\nDir. Julia Loktev<\/p>\n

No Other Land<\/strong>
\nDir. Basel Adra, Hamdan Ballal, Yuval Abraham, Rachel Szor<\/p>\n

Oh, Canada<\/strong>
\nDir. Paul Schrader<\/p>\n

On Becoming a Guinea Fowl<\/strong>
\nDir. Rungano Nyoni<\/p>\n

Pepe<\/strong>
\nDir. Nelson Carlos de los Santos Arias<\/p>\n

The Seed of the Sacred Fig<\/strong>
\nDir. Mohammad Rasoulof<\/p>\n

The Shrouds<\/strong>
\nDir. David Cronenberg<\/p>\n

Stranger Eyes<\/strong>
\nDir. Yeo Siew Hua<\/p>\n

Suburban Fury<\/strong>
\nDir. Robinson Devor<\/p>\n

Transamazonia<\/strong>
\nDir. Pia Marais<\/p>\n

A Traveler\u2019s Needs<\/strong>
\nDir. Hong Sangsoo<\/p>\n

\u200b\u200bVi\u1ec7t and Nam<\/strong>
\nDir. Tr\u01b0\u01a1ng Minh Qu\u00fd<\/p>\n

Who by Fire<\/strong>
\nDir. Philippe Lesage<\/p>\n

Youth (Hard Times)<\/strong>
\n<\/b>Dir. Wang Bing<\/p>\n

Youth (Homecoming)<\/strong>
\nDir. Wang Bing<\/p>\n<\/div>\n

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62nd New York Film Festival Main Slate Films & Descriptions
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Opening Night
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Nickel Boys
\n<\/span><\/b>RaMell Ross, 2024, U.S., 140m
\n<\/span><\/b>Rare is the film of a major book that maintains the power and precision of its source material while also generating its own singular aesthetic. Yet RaMell Ross\u2019s extraordinary realization of Colson Whitehead\u2019s Pulitzer Prize\u2013winning 2019 novel, about two Black teenagers who become wards of a barbaric juvenile reformatory in Jim Crow\u2013era Florida, achieves just this. In breakout performances that cut to the bone, Ethan Herisse and Brandon Wilson play Elwood and Turner, whose close friendship helps sustain their hope even as the horrors mount around them at the Nickel Academy, which becomes a microcosm of American racism in the mid-20th century. Ross, whose unforgettable Oscar-nominated documentary\u00a0Hale County This Morning, This Evening\u00a0<\/i>(Closing Night of New Directors\/New Films, 2018) portrayed an Alabama community in moments of revelatory intimacy, has here fashioned a film of equal daring and intensity, buoyed by expressive, shallow-focus cinematography by Jomo Fray (All Dirt Roads Taste of Salt<\/i>), pinpoint-precise editing by Nicholas Monsour (NOPE<\/i>), and deeply felt supporting performances from Aunjanue Ellis-Taylor, Hamish Linklater, and Daveed Diggs. Inspired by actual events, this harrowing tale comes to vivid life via an ingenious visual approach that brilliantly adapts the novel\u2019s exercise in subjectivity. Ross\u2019s\u00a0Nickel Boys<\/i>\u00a0sets the beauty of the natural world against the cruel realities of American racism, and confirms its maker\u2019s status as a visionary cinematic artist. An Orion Pictures\/Amazon MGM Studios release.<\/p>\n

Centerpiece
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The Room Next Door
\n<\/span><\/b>Pedro Almod\u00f3var, 2024, Spain, 106m
\n<\/b>U.S. Premiere
\nIngrid (Julianne Moore), a best-selling writer, rekindles her relationship with her friend Martha (Tilda Swinton), a war journalist with whom she has lost touch for a number of years. The two women immerse themselves in their pasts, sharing memories, anecdotes, art, movies\u2014yet Martha has a request that will test their newly strengthened bond. Pedro Almod\u00f3var\u2019s finely sculpted drama, his first English-language feature, is the unmistakable work of a master filmmaker, a hushed and humane portrayal of the beauty of life and the inevitability of death, graced with incandescent performances by Moore and Swinton that tap the very essence of being. Adapting Sigrid Nunez\u2019s treasure of a novel, What Are You Going Through, Almod\u00f3var has exquisitely reframed his career-long fascination with the lives of women for an American vernacular, capturing Manhattan and upstate New York with enraptured affection. A Sony Pictures Classics release.<\/p>\n

Closing Night
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Blitz
\n<\/span>Steve McQueen, 2024, U.K., 114m
\n<\/span>North American Premiere
\n<\/span>Blitz<\/i>, an authentic and astonishing recreation of London during its blitzkrieg by the Germans during World War II, pushes the artistry of Steve McQueen (12 Years a Slave<\/i>, NYFF51) to ever more impressive levels. Working on a vast scale, McQueen sets things at human eye level, telling his original tale from the parallel perspectives of working-class single mother Rita (Saoirse Ronan) and her 9-year-old son, George (newcomer Elliott Heffernan), as they become separated within the labyrinth of a city under siege. Alternately overwhelming and tender, McQueen\u2019s dazzling film offers a multicultural portrait of 1940s London too infrequently seen on screens. While Ronan and Heffernan emotionally match one another beat for beat, the supporting cast, including Kathy Burke, Benjamin Cl\u00e9mentine, Harris Dickinson, Stephen Graham, Hayley Squires, and Paul Weller, is uniformly superb, fleshing out a film that feels positively Dickensian in its scope and storytelling. An Apple Original Films release.<\/p>\n

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All We Imagine as Light
\n<\/b>Payal Kapadia, 2024, France\/India\/Netherlands\/Luxembourg, 118m
\nMalayalam and Hindi with English subtitles
\n<\/b>The light, the lives, and the textures of contemporary, working-class Mumbai are explored and celebrated with a vivid, humane richness by Payal Kapadia, who won the Grand Prize at this year\u2019s Cannes Film Festival for her revelatory fiction feature debut. Centering on two roommates who also work together in a city hospital\u2014head nurse Prabha (Kani Kusruti) and recent hire Anu (Divya Prabha)\u2014and a newly retired coworker Parvaty (Chhaya Kadam), Kapadia\u2019s film alights on prosaic moments of connection and heartache, hope and disappointment. Prabha, her husband from an arranged marriage living in faraway Germany, is pursued by a courtly doctor; Anu carries on a romance with a Muslim man, which she must keep a secret from her Hindu family; Parvaty finds herself dealing with a sudden eviction from her apartment. Kapadia captures the bustle of the metropolis and the open-air tranquility of a seaside resort with equal radiance, articulated by her superb actors with an unforced expressivity and by the camera with a lyrical naturalism that occasionally drifts into dreamlike incandescence. A Sideshow\/Janus Films release.<\/p>\n

Anora
\n<\/b>Sean Baker, 2024, U.S., 138m
\nEnglish and Russian with English subtitles
\n<\/b>This year\u2019s rambunctious Palme d\u2019Or winner at the Cannes Film Festival is a pure shot of frenetic pleasure, a New York odyssey that is the most immersive and accomplished comic adventure yet from American original Sean Baker (The Florida Project,<\/i>\u00a0NYFF55;\u00a0Red Rocket<\/i>, NYFF59). In a thrilling, star-making performance, Mikey Madison plays Annie, a tough-as-nails exotic dancer from Brighton Beach suddenly thrust into the lap of luxury when she\u2019s whisked away on a whirlwind romance with Ivan (Mark Eydelshteyn), an obscenely wealthy young customer at her strip club. However, Ivan turns out to be the spoiled scion of Russian oligarchs, and Annie\u2019s wild ride is anything but your average rags-to-riches story. Baker always takes a good-natured, sociological approach to his subject matter and milieu, and here he has created an authentic 21st-century screwball comedy that tackles sex, love, class, and money with matter-of-fact directness. A NEON release.<\/p>\n

April
\n<\/b>Dea Kulumbegashvili, 2024, France\/Georgia\/Italy, 134m
\n<\/b>Georgian with English subtitles
\nU.S. Premiere
\n<\/b>Georgian filmmaker Dea Kulumbegashvili follows her striking debut feature\u00a0Beginning<\/i>\u00a0(NYFF58), which told the story of a wife and mother persecuted for her religious beliefs in a provincial village, with this tenebrous, provocative drama about the precarious social position of a woman living in an isolated community. When a newborn baby dies after an otherwise routine delivery, obstetrician Nina (Ia Sukhitashvili) falls under suspicion for negligence, her standing in the small town further jeopardized by people\u2019s knowledge that she also provides illegal abortion services to local women. Shot by Arseni Khachaturan (Bones and All<\/i>), balancing long-take realism and nightmarish expressionism,\u00a0April<\/i>\u00a0is a complex and disquieting depiction of a caregiver in crisis, rich with haunting, metaphorical imagery that feels emanated from its maker\u2019s subconscious.<\/p>\n

The Brutalist
\n<\/b>Brady Corbet, 2024, U.S., 215m (incl. 15m intermission)
\n<\/b>English, Hungarian, Hebrew, Yiddish, and Italian with English subtitles
\nU.S. Premiere
\n<\/b>In this towering vision from American director Brady Corbet (Vox Lux<\/i>), an accomplished Hungarian Jewish architect and World War II survivor named L\u00e1szl\u00f3 Toth (Adrien Brody) reconstructs his life in America, reconnecting with family in Pennsylvania. While awaiting news of his wife\u2019s relocation from Budapest, fate leads the Bauhaus-instructed genius into the orbit of the volatile Harrison Lee Van Buren (Guy Pearce), an obscenely wealthy captain of industry, who leads him to both professional success and personal chaos. Co-written by Corbet and Mona Fastvold, this richly detailed recreation of postwar America is alternately hopeful and nightmarish in its portrayal of immigrant living, accruing in meaning and power as it builds to its overwhelming final passages. Interweaving a provocative tapestry of ideas around privilege, money, religious identity, architectural aesthetics, and the persistence of historical trauma,\u00a0The Brutalist<\/i>\u00a0is an absorbing, brilliantly acted American epic that reminds us the past is always present. Also starring Felicity Jones, Joe Alwyn, Isaach De Bankol\u00e9, Stacy Martin, and Alessandro Nivola.<\/p>\n

By the Stream
\n<\/b>Hong Sangsoo, 2024, South Korea, 111m
\n<\/b>Korean with English subtitles
\nU.S. Premiere
\n<\/b>Successful former director Chu Sieon (Kwon Haehyo), now working quietly as a bookshop owner, has arrived at a university to direct a short theater piece after its student director has been let go from the project. He appears at the invitation of his niece, Jeonim (Kim Minhee), an artist and teacher whom he hasn\u2019t seen in 10 years. Living with regrets about decisions made at this very university decades earlier, Chu Sieon both rebuilds his family bond and forges a new one with the admiring Professor Jeong (Cho Yunhee). Hong Sangsoo\u2019s latest portrait of people discovering emotional kinship and recharging their creative selves is wondrous in its simplicity yet expansive in feeling.\u00a0By the Stream<\/i>\u00a0is a deeply affectionate rendering of the constant process of self-actualization, whether in youth or late middle-age, and features one of Hong\u2019s most poignant scenes to date, in which Chu Sieon and the student actors share their hopes and promises for the future. A Cinema Guild release.<\/p>\n

Caught by the Tides<\/b>
\nJia Zhangke, 2024, China, 111m
\n<\/b>Mandarin Chinese with English subtitles
\nU.S. Premiere
\n<\/b>The preeminent dramatist of China\u2019s rapid 21st-century growth and social transformation, Jia Zhangke has taken his boldest approach to narrative yet with his marvelous\u00a0Caught by the Tides<\/i>. Assembled from footage shot over a span of 23 years\u2014a beguiling mix of fiction and documentary, featuring a cascade of images taken from previous movies, unused scenes, and newly shot dramatic sequences\u2014Caught by the Tides\u00a0<\/i>is a free-flowing work of unspoken longing, carried along more by music than dialogue as it looms around the edges of a poignant love story. The film mostly adheres to the perspective of Qiaoqiao (Jia\u2019s immortal muse Zhao Tao) as she wanders an increasingly unrecognizable country in search of long-lost lover Bin (Li Zhubin), who left their home city of Datong seeking new financial prospects. The always captivating Zhao carries the film with her delicate expressiveness, while Jia constantly evokes cinema\u2019s ability to capture the passage of time and the persistence of change: of people, landscapes, cities, politics, ideas. A Sideshow\/Janus Films release.<\/p>\n

Dahomey
\n<\/b>Mati Diop, 2024, France\/Senegal\/Benin, 67m
\nFrench with English subtitles
\n<\/b>The African kingdom of Dahomey, which ruled over its region at the west of the continent until the turn of the 20th century, saw hundreds of its splendid royal artifacts plundered by French colonial troops in its waning days. Now, as 26 of these treasures are set to return to their homeland\u2014now within the Republic of Benin\u2014filmmaker Mati Diop documents their voyage back. As with her layered, supernaturally tinged\u00a0Atlantics<\/i>\u00a0(NYFF57), Diop takes a singular approach to contemporary questions around belonging in our postcolonial world, transforming this rich subject matter into a multifaceted examination of ownership and exhibition, and employing multiple points of view, including\u2014most strikingly\u2014those of the artifacts themselves as they sail in darkness over the ocean to their rightful home. Alternating images of nocturnal melancholy and debates among students at Benin\u2019s University of Abomey-Calavi about what should be done with the objects,\u00a0Dahomey<\/i>\u00a0brilliantly negotiates a lost past and an unsure present. Winner of the Golden Bear at the 2024 Berlin Film Festival. A MUBI release.<\/p>\n

The Damned<\/b>
\nRoberto Minervini, 2024, Italy\/U.S.\/Belgium, 88m
\nU.S. Premiere
\n<\/b>A regiment of battle-fatigued Union soldiers makes its way west, forging ahead to survey the forbidding landscape of the Northwest frontier, in this transporting, existential Civil War drama from Italian-born director Roberto Minervini. The maker of\u00a0What You Gonna Do When the World\u2019s on Fire?<\/i>\u00a0(NYFF56) and\u00a0Stop the Pounding Heart<\/i>\u00a0(New Directors\/New Films 2014), gripping, idiosyncratic portraits of struggle on the margins of American life, Minervini applies his accomplished minimalist naturalism to the period war film, forgoing genre markers for an absorbing plunge into undying questions of morality and American identity. Punctuated by images of jarring violence and eerie beauty, and effectively cast with a troupe of compelling non-professional performers with weather-beaten faces,\u00a0The Damned<\/i>\u00a0engages in the emotional and moral quandaries of fighting a homeland war whose purpose grows hazier as it trudges on. Winner of the Best Director Award in the 2024 Cannes Film Festival\u2019s Un Certain Regard section.<\/p>\n

Eephus
\n<\/b>Carson Lund, 2024, U.S.\/France, 98m
\nNorth American Premiere
\n<\/b>For his gracefully accomplished debut feature, Carson Lund has fashioned perhaps the most elegiac baseball movie yet, a poignant celebration of a recent American past that already feels as though it has slipped away. Against an autumnal Massachusetts backdrop, sometime in the 1990s, the film lovingly nestles in with a pair of amateur recreation league teams as they play one last game at their beloved Soldiers Field before it\u2019s torn down and paved over for the construction of a middle school. An afternoon of brilliant blue sky quietly fades into October twilight as the players battle and bond, trade barbs and memories, stretching their game out to extra innings, in no hurry to leave this hallowed space. Lund\u2019s tranquil souvenir of a film captures the singular beauty of the sport itself. Recalling the work of Robert Altman and Richard Linklater, but with a touch of Tsai Ming-liang,\u00a0Eephus\u00a0<\/i>(its title referring to a curveball so slow it confuses the batter) is a film about the passage of time\u2014both the hours of the day and one era fading into another.<\/p>\n

Grand Tour
\n<\/b>Miguel Gomes, 2024, Portugal\/Italy\/France, 128m
\nPortuguese with English subtitles
\n<\/b>In this fanciful and high-spirited cinematic expedition, the uncommonly ambitious Portuguese filmmaker Miguel Gomes (Tabu<\/i>, NYFF50;\u00a0Arabian Nights<\/i>, NYFF53) takes a journey across East Asia, skipping through time and countries with delirious abandon to tell the tale of an unsettled couple from colonial England and the world as it both expands and closes in around them. It\u2019s 1918, and Edward (Gon\u00e7alo Waddington) has escaped the clutches of beckoning marriage, leaving his bemused fianc\u00e9e, Molly (Crista Alfaiate), in indefatigable pursuit. Edward gives chase from Mandalay to Bangkok to Shanghai and beyond, while Gomes responds with a splendid and enthralling series of scenes that use a magic form of cinema to situate us in these places both then and now, keeping us at a knowingly exotic traveler\u2019s distance while also immersing us in rhythm, texture, and emotional reality. Whether black-and-white or color, zigzagging or meditative in tone, scripted or captured as documentary,\u00a0Grand Tour<\/i>\u00a0is splendid, moving, and human-scaled. Winner of the Best Director prize at the 2024 Cannes Film Festival. A MUBI release.<\/p>\n

Happyend<\/b>
\nNeo Sora, 2024, Japan\/U.S., 113m
\n<\/b>Japanese with English subtitles
\nU.S. Premiere
\n<\/b>Contemporary global anxieties over the gradual slide into governmental totalitarianism find an original and touching outlet in this resonant drama about youth culture in Japan. Neo Sora, making his fiction feature debut following his elegant music tribute\u00a0Ryuichi Sakamoto\u00a0<\/i>|\u00a0Opus\u00a0<\/i>(NYFF61), sets his film in a Tokyo high school sometime in the near future. Here, two best friends since childhood, Kou (Yukito Hidaka) and Yuta (Hayato Kurihara), run afoul of their disciplinarian principal (Shiro Sano), who has installed a draconian surveillance system after being the target of an elaborate prank. As the boys try to figure out how to align themselves within the increasingly oppressive education system, larger external forces summon further threats, including constant looming natural disasters. Sora\u2019s absorbing and humane film tackles universal political fears, the tenuous bonds of friendship, and questions of individual will.<\/p>\n

Hard Truths
\n<\/b>Mike Leigh, 2024, U.K.\/Spain, 97m
\nU.S. Premiere
\n<\/b>Mike Leigh returns to a contemporary milieu for the first time since\u00a0Another Year<\/i>\u00a0(NYFF48) for this raw, uncompromising domestic drama that continues the great British filmmaker\u2019s inquiries into the possibility for happiness and the limits of human connection. In a gutsy, excoriating performance, Marianne Jean-Baptiste (Oscar nominee for Leigh\u2019s\u00a0Secrets & Lies<\/i>, NYFF34) absorbs herself completely into the role of Pansy, a middle-aged, working-class woman whose emotional and physical health problems have metastasized into a profound and relentless anger that\u2019s become toxic for everyone around her, including her husband, grown son, doctors, and even strangers on the street. Raging against every aspect of her domestic life and fearful of the world beyond, Pansy only finds potential solace in the unwavering love of her sister, Chantelle (a magnificent, gracious Michele Austin). Bringing his customary, thrilling eye for the details of human behavior and the complexities of social interaction, Leigh has created in close collaboration with his extraordinary cast a rigorous and unflinching look at a life in freefall. A Bleecker Street release.<\/p>\n

Harvest
\n<\/b>Athina Rachel Tsangari, 2024, U.K.\/U.S.\/Germany\/France, 131m
\n<\/b>English and French with English subtitles
\nU.S. Premiere
\n<\/b>Greek filmmaker Athina Rachel Tsangari, who deconstructed human behavior within bounded communities in\u00a0Attenberg<\/i>\u00a0and\u00a0Chevalier<\/i>, sets her sights on entirely new environs in\u00a0Harvest<\/i>, which takes place in a remote village in medieval England. Adapted from the acclaimed novel by British writer Jim Crace, Tsangari\u2019s film stars Caleb Landry Jones as Walter Thirsk, the former childhood friend and manservant of the village\u2019s weak-willed landowner, Master Kent (Harry Melling). Marked by superstition and the scapegoating of outsiders, the town\u2019s denizens fall under new threat after Kent\u2019s iron-fisted city cousin comes into possession of the land, with new plans for agricultural profit. Shot in the sun-dappled Scottish countryside with natural light by cinematographer Sean Price Williams, Tsangari\u2019s most ambitious work to date is both carnal and cerebral, a multifaceted reflection on man\u2019s relationship to the land, rich in atmospherics and thematic resonance.<\/p>\n

Misericordia
\n<\/b>Alain Guiraudie, 2024, France, 104m
\nFrench with English subtitles
\n<\/b>The teasingly entwined ambiguities of love and death continue to fascinate Alain Guiraudie (Stranger by the Lake<\/i>, NYFF51), who returns with a sharp, sinister, yet slyly funny thriller. Set in an autumnal, woodsy village in his native region of Occitanie, his latest follows the meandering exploits of J\u00e9r\u00e9mie (F\u00e9lix Kysyl), an out-of-work baker who has drifted back to his hometown after the death of his beloved former boss, a bakery owner. Staying long after the funeral, the seemingly benign J\u00e9r\u00e9mie begins to casually insinuate himself into his mentor\u2019s family, including his kind-hearted widow (Catherine Frot) and venomously angry son (Jean-Baptiste Durand), while making an increasingly surprising\u2014and ultimately beneficial\u2014friendship with an oddly cheerful local priest (Jacques Develay). In Guiraudie\u2019s quietly carnal world, violence and eroticism explode with little anticipation, and criminal behavior can seem like a natural extension of physical desire. The French director is at the top of his game in\u00a0Misericordia<\/i>, again upending all genre expectations. A Sideshow\/Janus Films release.<\/p>\n

My Undesirable Friends: Part I \u2014 Last Air in Moscow
\n<\/b>Julia Loktev, 2024, U.S., 322m
\n<\/b>Russian with English subtitles
\nWorld Premiere
\n<\/b>American filmmaker Julia Loktev (The Loneliest Planet<\/i>, NYFF49), born in the Soviet Union, returned to Moscow in 2021 to make a documentary on the persistence of independent journalism in Putin\u2019s Russia\u2014just months, as it turned out, before the country\u2019s full-scale invasion of Ukraine. With her friend Anna Nemzer, a talk show journalist for TV Rain, Russia\u2019s last remaining independent news channel, Loktev ends up immersing herself with a group of young women fighting to ensure the vocalization of dissent and outspoken criticism of the country\u2014even as they are branded by the government as \u201cforeign agents,\u201d their careers and lives increasingly at risk as the country creeps toward war. Structured in five chapters, Loktev\u2019s film, the climactic days of which were filmed in Moscow during the first week of the invasion, when most independent journalists fled the country, is an extraordinary v\u00e9rit\u00e9 document of a moment of immense change and anxiety, as well as a vital depiction of the eternal hope that so many in Russia hold for living in a democratic state.\u00a0Screening in two parts: Chapters 1\u20133 (198m), Chapters 4\u20135 (124m)<\/i>.<\/p>\n

No Other Land
\n<\/b>Basel Adra, Hamdan Ballal, Yuval Abraham, Rachel Szor, 2024, Palestine\/Norway, 95m
\nArabic, English, and Hebrew with English subtitles
\n<\/b>This eye-opening, v\u00e9rit\u00e9-style documentary, made by a Palestinian-Israeli collective of four directors over the course of five years, provides a harrowing account of the systematic onslaught of destruction experienced by Masafer Yatta, a group of Palestinian villages in the southern West Bank, at the hands of the Israeli military. Headed by Palestinian activist Basel Adra and Israeli journalist Yuval Abraham (also two of the film\u2019s directors), the collective commits itself to filming and protesting the demolitions of homes and schools and the resulting displacement of their inhabitants, which were carried out to make way for Israeli military training ground. In addition to the indelible footage of destruction and expulsion captured by its undaunted witnesses,\u00a0No Other Land\u00a0<\/i>serves as a moving portrait of friendship between Adra and Abraham, who form a philosophical and political alliance despite the drastic differences in their abilities to exist freely in this world. Winner of multiple awards including the Panorama Audience Award for Best Documentary Film at the 2024 Berlinale.<\/p>\n

Oh, Canada
\nPaul Schrader, 2024, Canada, 95m
\n<\/b>In an unvarnished, commanding performance, Richard Gere plays Leonard Fife, a celebrated political documentarian who has reached the end of his life. Wracked with cancer, Leonard has agreed to appear in a film by a former prot\u00e9g\u00e9 (Michael Imperioli) in the hopes of setting the record straight about himself. Cinema becomes a confessional space as Leonard, accompanied by his stalwart wife and former student, Emma (Uma Thurman), excavates his own past, facing down regrets and guilt, and interrogating his own career, personal life, and political courage. Constructed with nonlinear flashbacks featuring Jacob Elordi as a young Leonard, the film passes in and out of different time periods, back to the 1960s, matching the slippery consciousness of its storyteller. Adapted from the book\u00a0Foregone<\/i>\u00a0by Russell Banks, Paul Schrader\u2019s emotionally naked drama feels like a direct address to the viewer, a filmmaker\u2019s reckoning with his formidable status and persona.<\/p>\n

On Becoming a Guinea Fowl
\n<\/b>Rungano Nyoni, 2024, Zambia\/U.K.\/Ireland, 98m
\n<\/b>Bemba and English with English subtitles
\nU.S. Premiere
\n<\/b>A middle-aged man\u2019s sudden death brings about a reckoning with the past for an extended Zambian family in Rungano Nyoni\u2019s scalding drama. Balancing domestic realism and expressionistic absurdity with precision and constant surprise, Nyoni, in the follow-up to her feature debut,\u00a0I Am Not a Witch<\/i>, commandingly delineates the contours of a community caught between tradition and modernity. Nyoni\u2019s film centers on Shula (a furious and touching Susan Chardy), whose stoical response to finding her uncle\u2019s body on the street in the middle of the night hints at the many emotional fissures that will lead to the exposure of difficult truths long repressed. The film\u2019s compositional rigor, inventive sound design, and unexpected narrative turns and digressions confirm Nyoni as a distinctive new voice in international cinema. Winner of the Best Director prize in Cannes\u2019 Un Certain Regard section. An A24 release.<\/p>\n

Pepe
\n<\/b>Nelson Carlos de los Santos Arias, Dominican Republic\/Namibia\/Germany\/France, 2024, 123m
\n<\/b>Afrikaans, German, Spanish, and Mbukushu with English subtitles
\nU.S. Premiere
\n<\/b>In 1993, after the death of Colombian drug lord Pablo Escobar, the wild array of exotic pets he kept in his menagerie were shipped off to zoos and other preserves. His hippopotamuses, however, escaped, fending for themselves, reproducing, and becoming the target of government sterilizers and poachers. Dominican filmmaker Nelson Carlos de los Santos Arias (Cocote<\/i>, New Directors\/New Films 2018) takes a fascinating, highly unorthodox approach to this strange but true tale, which is told from the perspective of a sentient hippo, Pepe, at the moment of its death. We hear the animal\u2019s thoughts as they\u2019re spoken aloud by a raspy narrator, as the film skips across time and continents, from Pepe\u2019s home country of Namibia to the Rio Magdalena in Colombia, where Pepe has escaped; shuffles modes of storytelling; and alternates between nonfiction and fantasy. In its sympathetic inquiry and aesthetic muscularity,\u00a0Pepe<\/i>\u00a0poses provocative questions about the ever-shifting ecological stakes of life on earth and the nature of being.<\/p>\n

The Seed of the Sacred Fig
\n<\/b>Mohammad Rasoulof, 2024, Iran\/Germany\/France, 166m
\nFarsi with English subtitles
\n<\/b>A target of Iran\u2019s hardline conservative government for his films\u2019 criticism of the state, director Mohammad Rasoulof fled his home country to avoid an eight-year prison sentence. The result, the searing drama\u00a0The Seed of the Sacred Fig<\/i>, won a Special Prize from the jury and three other awards on its premiere at the Cannes Film Festival. The film is every bit as urgent and gripping as its real-life backstory would portend: longtime government worker Iman (Missagh Zareh) has just received a major promotion to the role of judge\u2019s investigator, to the hopeful delight of his wife Najmeh (Soheila Golestani); at the same moment, a series of student protests against the government have exploded in the streets, stoking the sympathies of their independent-minded daughters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki). The growing wedge between progressive children and traditional parents intensifies through a series of unsettling events that put Iman\u2019s future in jeopardy. Both paranoia thriller and domestic drama,\u00a0The Seed of the Sacred Fig<\/i>\u00a0is above all an epic of anti-patriarchal political conviction. A NEON release.<\/p>\n

The Shrouds
\n<\/b>David Cronenberg, 2024, France\/Canada, 119m
\nU.S. Premiere
\n<\/b>In an eerie, deceptively placid near-future, a techno-entrepreneur named Karsh (Vincent Cassel) has developed a new software that will allow the bereaved to bear witness to the gradual decay of loved ones dead and buried in the earth. While Karsh is still reeling from the loss of his wife (Diane Kruger) from cancer\u2014and falling into a peculiar sexual relationship with his wife\u2019s sister (also Kruger)\u2014a spate of vandalized graves utilizing his \u201cshroud\u201d technology begins to put his enterprise at risk, leading him to uncover a potentially vast conspiracy. Written following the death of the director\u2019s wife, the new film from David Cronenberg is both a profoundly personal reckoning with grief and a descent into noir-tinged dystopia, set in an ominous world of self-driving cars, data theft, and A.I. personal assistants. Offering Cronenberg\u2019s customary balance of malevolence and wit,\u00a0The Shrouds<\/i>\u00a0is a sly and thought-provoking consideration of the corporeal and the digital, the mortal and the infinite.<\/p>\n

Stranger Eyes
\n<\/b>Yeo Siew Hua, 2024, Singapore, 126m
\n<\/b>Chinese with English subtitles
\nNorth American Premiere
\n<\/b>Young married Singaporean couple Junyang (Chien-Ho Wu) and Peiying (Anicca Panna) must confront the unimaginable when one morning their baby daughter goes missing from the playground. As the police begin their investigation, Junyang and Peiying receive an unsettling package at their doorstep: surreptitious video footage of their daily lives, taken before and after the child\u2019s disappearance. Soon, their voyeur neighbor Wu (Lee Kang-sheng, the Taiwanese star of Tsai Ming-liang\u2019s films, in a delicate, multilayered performance) falls under suspicion, revealing multiple secret inner lives among a group of interconnected characters. From this gripping set-up, writer-director Yeo Siew Hua constructs an unpredictable thriller that is as compelled by the mysteries of the human heart as it is by the ambiguities of living in a constant surveillance culture.<\/p>\n

Suburban Fury
\n<\/b>Robinson Devor, 2024, U.S., 115m
\nWorld Premiere
\n<\/b>On September 22, 1975, 45-year-old Sara Jane Moore took a revolver out of her purse and fired two shots at President Gerald Ford on a crowded sidewalk in San Francisco\u2019s Union Square. This failed political assassination was destined to become a strange historical footnote, yet Moore is revealed as an extraordinary subject in this expansive, fascinating new documentary by the protean Robinson Devor (The Woman Chaser<\/i>, NYFF37). Having served more than 30 years of a life prison sentence, Moore tells her own story, from FBI informant to would-be assassin, all of which Devor dramatizes against the backdrop of the era\u2019s prevalent political unrest and militancy, of Attica, the Black Panthers, the U.S.-backed Chilean coup, and the Symbionese Liberation Army. A pugnacious and unapologetic interview subject, Moore holds the center of a fleet and compelling nonfiction drama with the feel of a 1970s thriller.<\/p>\n

Transamazonia
\n<\/b>Pia Marais, 2024, France\/Germany\/Switzerland\/Taiwan\/Brazil, 112m
\n<\/b>English and Portuguese with English subtitles
\nNorth American Premiere
\n<\/b>In the eerie quiet of the vast, verdant Amazon jungle, a young girl stirs to life. Rescued by a member of the local Indigenous tribe, the child, Rebecca, is the only survivor of a plane crash. Years pass, and Rebecca (Helena Zengel) has become something of a local celebrity after her father (Jeremy Xido), an American missionary, has cast the teenager as a faith healer capable of miracles. Just as Rebecca is beginning to have a will of her own, doubting her father and the role in which she\u2019s been cast, another crisis emerges when illegal loggers encroach on the land, threatening the livelihoods of the local tribe, and forcing emotional, familial, and racial reckonings. South Africa\u2013born director Pia Marais has fashioned a mesmerizing, entrancingly photographed moral tale with no easy answers that is also a singular coming-of-age fable.<\/p>\n

A Traveler\u2019s Needs
\n<\/b>Hong Sangsoo, 2024, South Korea, 90m
\n<\/b>English, French, and Korean with English subtitles
\nNorth American Premiere
\n<\/b>Isabelle Huppert reunites with Hong Sangsoo for their third delightful outing, this time starring as a nomadic Frenchwoman named Iris who drifts into the lives of a disconnected group of people in a Seoul suburb. In need of money, she has taken up giving French lessons, although she has no teaching experience to speak of. Cutting an ethereal figure in a straw hat, flowered sundress, and green cardigan, Iris puzzles the locals with her unorthodox methods and unyielding love for the Korean rice wine\u00a0makgeolli.\u00a0<\/i>Iris\u2019s effect on those around her is at once familial, romantic, and pedagogical, leading to a succession of gently amusing moments of cultural confusion and curiosity. Hong\u2019s endearing, enigmatic observational comedy is a gentle exploration of human motivation and the surprising connections between people despite\u2014or because of\u2014language barriers. Winner of the Grand Jury Prize at the 2024 Berlinale. A Cinema Guild release.<\/p>\n

\u200b\u200bVi\u1ec7t and Nam
\n<\/b>Tr\u01b0\u01a1ng Minh Qu\u00fd, 2024, Philippines\/France\/Singapore\/Italy\/Germany\/Vietnam, 129m
\n<\/b>Vietnamese with English subtitles
\nU.S. Premiere
\n<\/b>Two young men emerge from the stygian darkness of a cave. They are in the bowels of the earth working as coal miners, but Vi\u1ec7t and Nam are also lovers, enjoying moments of physical embrace kept secret from the rest of the world, before one of them embarks on a dangerous emigration to Laos. From this personal drama, captured with sensual detail and mesmeric eroticism, Vietnamese filmmaker Tr\u01b0\u01a1ng Minh Qu\u00fd digs even deeper to excavate the memories and legacies of a nation. Set at the turn of the 21st century, Tr\u01b0\u01a1ng\u2019s film resounds with echoes of the country\u2019s war decades earlier, as Nam\u2019s mother takes them on a pilgrimage to try and discover where his father was killed as a soldier. Shot in a hypnotic style on 16mm film\u2014and banned in its home country\u2014Vi\u1ec7t and Nam<\/i>\u00a0is a remarkable work of quiet expressivity about two men with unsettled pasts and indeterminate futures. A Strand Releasing release.<\/p>\n

Who by Fire
\n<\/b>Philippe Lesage, 2024, Canada\/France, 161m
\n<\/b>French with English subtitles
\nU.S. Premiere
\n<\/b>A getaway at a secluded log cabin in the forest becomes the site of escalating, multigenerational tensions and anxieties in this disquieting, impeccably mounted coming-of-age drama from Quebecois filmmaker Philippe Lesage (Genesis<\/i>, New Directors\/New Films 2019). Ostensibly a merry reunion between well-known film director Blake Cadieux (Arieh Worthalter) and his longtime friend and former collaborator Albert Gary (Paul Ahmarani), the vacation gradually becomes something far more complex and less stable, especially with the combustible admixture of Albert\u2019s teen son\u2019s best friend, Jeff (Noah Parker), and Albert\u2019s self-asserting daughter Aliocha (Aur\u00e9lia Arandi-Longpr\u00e9). Long-simmering middle-aged resentments surface, set against the anxieties of the young, all captured sensitively by Lesage, who in recent years has proven unparalleled in evoking the psychological contours of teenagers finding their paths through treacherous emotional landscapes. Featuring thrillingly choreographed dinner sequences of mounting tension,\u00a0Who by Fire<\/i>\u00a0confirms Lesage as a major contemporary filmmaker, with its assured tonal negotiation of the naturalistic and the oneiric, the joyous (especially an epic dance interlude to The B-52s) and the ominous.<\/p>\n

Youth (Hard Times)<\/b>
\nWang Bing, 2024, France\/Luxembourg\/Netherlands, 220m
\n<\/b>Mandarin Chinese with English subtitles
\nU.S. Premiere
\n<\/b>Continuing the observational nonfiction saga that began with\u00a0Youth (Spring)<\/i>\u00a0(NYFF61),<\/i>\u00a0Wang Bing returns to the Chinese district of Zhili, where more than 300,000 migrant workers from rural provinces are employed in clothing workshops. In this enveloping second part of the\u00a0Youth<\/i>\u00a0trilogy, shot between 2015 and 2019, Wang deepens his v\u00e9rit\u00e9 portrait of a generation struggling to survive on meager wages amidst a nation\u2019s economic expansion, emphasizing the distrustful, increasingly combative relationship between workers and management. Wang\u2019s epic yet compressed documentary is a singular rendering of young people who have become so focused on \u201cmaking a living\u201d that they have no time for joy or rest. Says one of the film\u2019s many subjects: \u201cYou have no rights, so what\u2019s the use of having money?\u201d Despite these grim realities, Wang\u2019s film provides hope in its depiction of workers who may find their collective voice. The final part of the trilogy,\u00a0Youth (Homecoming)<\/i>, also screens in this year\u2019s NYFF. An Icarus Films release.<\/p>\n

Youth (Homecoming)
\n<\/b>Wang Bing, 2024, France\/Luxembourg\/Netherlands, 160m
\n<\/b>Mandarin Chinese with English subtitles
\n<\/b>U.S. Premiere
\n<\/b>Wang Bing concludes his monumental\u00a0Youth\u00a0<\/i>trilogy in expansive fashion, giving ever wider scope to the lives of migrant workers in Zhili\u2019s textile factories, which the filmmaker recorded over the course of five years. Centered around New Year\u2019s break, when the workers are planning to visit their families in remote hometowns to celebrate the festivities,\u00a0Homecoming<\/i>\u00a0functions as a sweeping portrait of contemporary rural China, incorporating images of tightly packed trains and buses climbing treacherous mountainside roads, and joyous interludes, including wedding celebrations for workers Shi Wei and Fang Lingping, into its scenes of factory life. Wang\u2019s cyclical account of young people caught in constant survival mode comes to a poignant close here, giving definitive shape and meaning to his enormous act of observation. The middle part of the trilogy,\u00a0Youth (Hard Times)<\/i>, also screens in this year\u2019s NYFF. An Icarus Films release.<\/p>\n<\/ins>\n<\/div>\n<\/div>\n<\/div>\n

\n
\n

FILM AT LINCOLN CENTER
\n<\/u><\/b>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, new releases, and restorations year-round in state-of-the-art theaters at New York\u2019s Lincoln Center for the Performing Arts. FLC offers audiences the opportunity to discover works from established and emerging directors from around the world with a passionate community of film lovers at marquee events including the New York Film Festival and New Directors\/New Films.<\/p>\n

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

Support for the New York Film Festival is generously provided by Official Partner HBO\u00ae and The New York Times; Contributing Partners Netflix, BritBox, Criterion, Bloomberg Philanthropies, MUBI, Dolby, the School of Visual Arts BFA Film, The Travel Agency: A Cannabis Store, New York Film Academy, and Manhattan Portage; Media Partners Variety, Deadline Hollywood, WABC-TV, The Hollywood Reporter, The WNET Group, and IMDb. Additional support provided in part by the NYC\u2019s Mayor\u2019s Office of Media and Entertainment, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. American Airlines is the Official Airline of Film at Lincoln Center.<\/b><\/p>\n

 <\/p>\n

For more information, visit\u00a0<\/b>filmlinc.org<\/b><\/a>\u00a0and follow @TheNYFF on\u00a0<\/b>X<\/b><\/a>\u00a0and\u00a0<\/b>Instagram<\/b><\/a>.\u00a0<\/b><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

FILM AT LINCOLN CENTER ANNOUNCES MAIN SLATE SELECTIONS FOR THE 62nd NEW YORK FILM FESTIVAL 32 features including new films from Pedro Almod\u00f3var, Sean Baker, Brady Corbet, David Cronenberg, Nelson Carlos de los Santos Arias, Robinson Devor, Mati Diop, Miguel Gomes, Alain Guiraudie, Hong Sangsoo, Jia Zhangke, Payal Kapadia, Dea Kulumbegashvili, Mike Leigh, Philippe Lesage,…<\/p>\n","protected":false},"author":2,"featured_media":25342,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[34],"tags":[23643,21544,18806,23627,11962,23629,8964,21545,20868,23631,21548,23632,23633,23634,23635,23636,327,23407,19979,21554,23637,23638,23640,23641,23628,23630,23626,23639,16853,23642,23644,23645,23646,23647],"acf":[],"yoast_head":"\nNew York Film Festival 62 Main Slate Selections<\/title>\n<meta name=\"description\" content=\"New York Film Festival 62 : 32 features including new films from Pedro 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