{"id":25506,"date":"2024-08-15T12:32:58","date_gmt":"2024-08-15T16:32:58","guid":{"rendered":"https:\/\/cinemadailyus.com\/?p=25506"},"modified":"2024-08-15T12:32:58","modified_gmt":"2024-08-15T16:32:58","slug":"flc-announces-new-york-film-festival-62-spotlight-selections","status":"publish","type":"post","link":"https:\/\/cinemadailyus.com\/?p=25506","title":{"rendered":"FLC Announces New York Film Festival 62 Spotlight Selections"},"content":{"rendered":"
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\u00a9Images: Maria, A Real Pain, Emilia P\u00e9rez<\/p>\n

FILM AT LINCOLN CENTER ANNOUNCES
\n<\/b>SPOTLIGHT FOR THE 62ND NEW YORK FILM FESTIVAL<\/p>\n

<\/b><\/h1>\n

North American premieres are Leos Carax<\/a>‘s\u00a0It’s Not Me<\/i>,
\n<\/b>Alex Ross Perry’s\u00a0Pavements<\/i>, and Andrei\u00a0<\/b>Ujic\u0103\u2019s\u00a0TWST \/ Things We Said Today<\/i><\/p>\n

U.S. premiere of documentary\u00a0Elton John: Never Too Late<\/i>
\nwith an appearance by Elton John and directors R.J. Cutler and David Furnish
\n<\/b>
\nFeaturing\u00a0Emilia P<\/i><\/b>\u00e9rez<\/i>,\u00a0<\/i>winner of the Cannes Jury Prize
\nand Best Actress prize for acting ensemble
\n<\/b>
\nNew works by Jacques Audiard; Petra Costa; Jesse Eisenberg<\/a>; Jean-Luc Godard<\/a>; Luca Guadagnino<\/a>; Pablo Larra\u00edn; Guy Maddin, Evan Johnson, and Galen Jackson; Scott McGehee and David Siegel; Walter Salles;\u00a0<\/b>and Brett Story and Stephen Maing<\/b><\/h3>\n<\/div>\n<\/div>\n<\/div>\n

\n

New York, NY (August 14, 2024)\u00a0<\/b>\u2013 Film at Lincoln Center announces Spotlight for the 62nd New York Film Festival (September 27\u2013October 14), a showcase of the fall\u2019s most notable films, featuring a selection of must-see literary adaptations, portraits of musical artists, Cannes award winners, works dealing with political and historical realities, and the final film of Jean-Luc Godard, screening alongside a documentary of the master at work. As\u00a0previously announced<\/a>, the NYFF62 Spotlight Gala will be the U.S. premiere of Luca Guadagnino\u2019s\u00a0Queer<\/i>\u00a0on October 6 at Alice Tully Hall.<\/p>\n

This year\u2019s Spotlight features an imaginative range of portraits of musicians and performers, including Pablo Larra\u00edn\u2019s\u00a0Maria<\/strong>,\u00a0<\/i>with Angelina Jolie delivering a towering performance as legendary opera singer Maria Callas in her final days; the North American premieres of\u00a0Pavements<\/strong>,\u00a0<\/i>Alex Ross Perry\u2019s irreverent anti-biodoc about the influential indie rock band Pavement, and\u00a0TWST\/Things We Said Today<\/i><\/strong>, Andrei Ujic\u0103\u2019s archival film about the Beatles\u2019 descent on NYC for their sold-out 1965 Shea Stadium concert; and the U.S. premiere of\u00a0Elton John: Never Too Late<\/i><\/strong>, directed by R.J. Cutler and David Furnish, featuring never-before-seen concert footage from the past 50 years, with in-person appearances by Elton John and the directors. Music is also prominent in Jacques Audiard\u2019s Cannes Jury Prize winner\u00a0Emilia P\u00e9rez<\/i><\/strong>, an audacious and genre-defying musical crime comedy that also received the Cannes Best Actress prize for its ensemble cast.<\/p>\n

As in the Main Slate, filmmakers\u2019 interest in sociopolitical issues and histories are present in several captivating selections. Brazilian politics are the focus of two films: Petra Costa\u2019s\u00a0Apocalypse in the Tropics<\/i><\/strong>\u00a0looks at the chilling rise of the far right in Brazil, and Walter Salles\u2019s\u00a0I\u2019m Still Here<\/i><\/strong>, a richly realized political drama, tells the true story of a woman\u2019s search for the truth about her husband\u2019s kidnapping by the Brazilian government. Labor is the focus of Brett Story and Stephen Maing\u2019s immersive documentary\u00a0Union<\/i><\/strong>, which follows the day-to-day struggles of the Amazon Labor Union and the events that led to their historic 2022 vote. In\u00a0Rumours<\/i><\/strong>, Guy Maddin and co-directors Evan Johnson and Galen Johnson create a sci-fi satire of world leaders at the annual G7 summit. In Jesse Eisenberg\u2019s\u00a0A Real Pain<\/strong>,<\/i>\u00a0Eisenberg and Kieran Culkin star as cousins who attempt to reconnect on a pilgrimage to the Polish hometown of their grandmother, a Holocaust survivor.<\/p>\n

Jean-Luc Godard continues to be a presence at NYFF two years after his death with the U.S. premiere of of one more \u201clast film\u201d by the New Wave master:\u00a0Sc\u00e9narios<\/strong><\/i>, a quintessential, complexly layered work that concludes with a poignant appearance by the filmmaker himself the day before his death, screens along with\u00a0Expos\u00e9 du film annonce du film \u201cScenario<\/strong>,\u201d\u00a0<\/i>a documentary conceptualized by Godard and shot in 2021 by longtime collaborator Fabrice Aragno. French filmmaker Leos Carax pays playful homage to Godard and cinema itself in the North American premiere of\u00a0It\u2019s Not Me<\/strong>,<\/i>\u00a0with an in-depth conversation with Carax following the premiere screening.<\/p>\n

The Friend<\/i><\/strong>, Scott McGehee and David Siegel\u2019s warm and humane adaptation of Sigrid Nunez\u2019s beloved National Book Award winner, is the second film in the NYFF62 lineup based on the work of the acclaimed writer, whose novel\u00a0What Are You Going Through<\/i>\u00a0was adapted by Pedro Almod\u00f3var for Centerpiece selection\u00a0The Room Next Door<\/strong>.<\/i><\/p>\n

Explore all announced NYFF62 films<\/a>. Currents, Revivals, and Talks\u00a0sections<\/a>\u00a0will be announced soon\u2013\u2013sign up for NYFF updates<\/a>\u00a0for the latest news.<\/p>\n

The\u00a0NYFF Main Slate and Spotlight 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 Almudena 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

The New York Film Festival will offer festival screenings 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). Each venue will present a selection of films throughout the festival; a complete list of films and showtimes will be announced later this month.<\/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 20 to secure NYFF62 pre-sale access and discounted tickets year-round.\u00a0NYFF62 press and industry accreditation<\/a>\u00a0is now open through August 19.<\/p>\n<\/div>\n

\n
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SPOTLIGHT FILMS & DESCRIPTIONS<\/u><\/h2>\n

 <\/p>\n

Spotlight Gala<\/h6>\n

Queer
\nLuca Guadagnino, 2024, U.S.\/Italy, 135m
\n<\/b>Written in the early 1950s yet not published until 1985, William S. Burroughs\u2019s\u00a0Queer<\/i>\u00a0has come to be considered a canonical work in the career of the Beat Generation author and a cornerstone of transgressive gay literature. In his wildly ambitious adaptation, Luca Guadagnino (Call Me by Your Name<\/i>, NYFF55) expertly evokes the book\u2019s post\u2013World War II time period and cinematically translates Burroughs\u2019s iconoclasm with panache. In a transformative role, Daniel Craig immerses himself into Burroughs\u2019s alter ego William Lee, a habitual heroin user luxuriating in freedom and desiccation among a disconnected group of gay American expatriates in Mexico City in the late 1940s. When enigmatic, preppy ex-military kid Eugene Allerton (Drew Starkey) catches Lee\u2019s eye, he swoons into a headlong love affair, commencing an odyssey that will take them all the way to the Ecuadorian jungle in pursuit of the ultimate high. Buoyed by go-for-broke performances from Craig and Starkey, and rollicking, unexpected supporting turns from Lesley Manville and Jason Schwartzman,\u00a0Queer<\/i>\u00a0is a dazzling showcase for many in Guadagnino\u2019s stable of collaborators, including\u00a0Challengers<\/i>\u00a0screenwriter Justin Kuritzkes, cinematographer Sayombhu Mukdeeprom, and music composers Trent Reznor and Atticus Ross. It\u2019s a film that finds Guadagnino in his most formidable, gutsiest mode yet, featuring explicit eroticism, expressionistic flights of fancy, and gratifying moments of psychedelic surrealism.
\n
\nApocalypse in the Tropics
\n<\/b>Petra Costa, 2024, Brazil\/U.S.\/Denmark, 110m
\n<\/b>Portuguese with English subtitles
\n<\/b>In the follow-up to her Oscar-nominated documentary\u00a0The Edge of Democracy<\/i>, which examined Brazil\u2019s increasingly polarized politics, Petra Costa dramatizes the chilling rise of the far right in her country.\u00a0Apocalypse in the Tropics<\/i>\u00a0focuses on how the evangelical movement paved the way for the presidency of Jair Bolsonaro and continues to pose the threat of a national theocracy. Gaining remarkable access to major figures on both sides of the extreme political divide, including fire-and-brimstone televangelist Silas Malafaia, who was Bolsonaro\u2019s right-hand man, and Bolsonaro\u2019s liberal predecessor and successor President Lulu da Silva, Costa provides a gripping and urgent pr\u00e9cis on the recent tumultuous events that have put Brazil in the international spotlight while painting an unsettling portrait of democracy\u2019s fragility.<\/p>\n

Elton John: Never Too Late
\n<\/b>R.J. Cutler, David Furnish, 2024, U.S., 102m
\n<\/b>U.S. Premiere
\n<\/b>Co-directed by R.J. Cutler (Billie Eilish: The World\u2019s A Little Blurry, Belushi, The September Issue<\/i>) and David Furnish, this rousing, intensely personal documentary finds a legendary musician in a richly reflective mood during his final concert tour, the multiyear, globe-spanning Farewell Yellow Brick Road. Filled with revealing interviews and rare archival material,\u00a0Elton John: Never Too Late<\/i>\u00a0offers keen insight into a life and career marked by soaring highs and crushing lows, and contemplates a legacy defined equally by advocacy and artistry. A Disney+ release.\u00a0Featuring a special appearance by Elton John and directors R.J. Cutler and David Furnish.<\/b><\/p>\n

Emilia P\u00e9rez
\n<\/b>Jacques Audiard, 2024, France, 132m
\n<\/b>English and Spanish with English subtitles
\n<\/b>From the moment it introduces its titular antiheroine, a Mexican drug-cartel boss seeking gender-affirming surgery, this boldly genre-dissolving tour de force is predicated on the power of astonishing transformations. The most ambitious and exuberant film to date by Jacques Audiard, one of contemporary cinema\u2019s most versatile filmmakers,\u00a0Emilia P\u00e9rez<\/i>\u00a0is at once a darkly funny crime drama and a jaw-dropping musical, powered by a quartet of superb actors\u2014Zoe Salda\u00f1a, Karla Sof\u00eda Gasc\u00f3n, Selena Gomez, and Adriana Paz\u2014whose fearless performances defy every expectation. Winner of the Jury Prize at this year\u2019s Cannes Film Festival, where its four leads also shared the Best Actress prize. A Netflix release.<\/p>\n

The Friend
\n<\/b>Scott McGehee, David Siegel, 2024, U.S., 120m
\n<\/b>Novelist and creative writing teacher Iris (Naomi Watts) finds her comfortable, solitary New York life thrown into disarray after her closest friend and mentor (Bill Murray) commits suicide and bequeaths his beloved Great Dane to her. The regal yet intractable beast, named Apollo, immediately creates problems for Iris, from furniture destruction to eviction notices, as well as more existential ones, his looming presence constantly reminding her of her friend\u2019s choice to take his own life. Yet as Iris finds herself unexpectedly bonding to the animal, she begins to come to terms with her past, her lost friend, and her own creative inner life. Featuring a warm, emotionally present central performance from Watts, Scott McGehee and David Siegel\u2019s (The Deep End<\/i>) deeply fulfilling adaptation of Sigrid Nunez\u2019s beloved, slyly shape-shifting National Book Award winner is a rare kind of contemporary American film\u2014humane, philosophical, curious, yet never diagnostic about loss, grief, and anger.<\/p>\n

I\u2019m Still Here
\n<\/b>Walter Salles, 2024, Brazil\/Spain, 135m
\n<\/b>Portuguese with English subtitles
\n<\/b>U.S. Premiere
\n<\/b>One afternoon in 1970, Rubens Paiva, a former congressman and outspoken critic of Brazil\u2019s newly instituted military dictatorship, was taken from his home in Rio de Janeiro by government officials, told nothing more than that he must give a \u201cdeposition\u201d to authorities, and disappeared. Adapted from his son Marcelo Rubens Paiva\u2019s memoir, this overwhelming, richly realized political drama from Walter Salles (The Motorcycle Diaries<\/i>) stays tightly wedded to the perspective of Rubens\u2019s wife, Eunice (a shattering Fernanda Torres), whose indefatigable search for the truth about her husband would stretch out for decades. A devastating true story,\u00a0I\u2019m Still Here<\/i>\u00a0is exhilarating in its portrayal of human tenacity in the face of injustice. Featuring a deeply affecting appearance from Fernanda Montenegro, Oscar nominee for Salles\u2019s\u00a0Central Station<\/i>. A Sony Pictures Classics release.<\/p>\n

It\u2019s Not Me
\n<\/b>Leos Carax, 2024, France, 41m
\n<\/b>French with English subtitles
\n<\/b>North American Premiere
\n<\/b>French cinema firebrand Leos Carax has spent 40 years making galvanizing movies that float in the beautifully perplexing nether space between reality and artifice, from\u00a0Boy Meets Girl\u00a0<\/i>(NYFF23) and\u00a0Lovers on the Bridge<\/i>\u00a0(NYFF30) to\u00a0Holy Motors<\/i>\u00a0(NYFF50) and the recent musical\u00a0Annette<\/i>. In his new film, he lovingly evokes the aesthetics of Jean-Luc Godard, paying aptly cheeky respect to the late New Wave master, his own career, and cinema itself, rummaging through a century of movies to situate his work within a continuum of the medium. Rather than self-aggrandize, he uses this diaristic format for an iconoclastic and impudent inquiry into power, politics, and image-making that is at once wry and playful, oblique and deeply personal. A Sideshow\/Janus Films release. Premiere screening followed by a conversation with Leos Carax.<\/p>\n

Maria
\n<\/b>Pablo Larra\u00edn, 2024, Italy\/Germany\/U.S., 122m
\n<\/b>Following his acclaimed historical biopics\u00a0Jackie<\/i>\u00a0and\u00a0Spencer<\/i>, about Jacqueline Kennedy Onassis and Princess Diana, respectively, Chilean director Pablo Larra\u00edn has made his third entry in an unofficial trilogy about world-famous women dealing with the blinding glare of celebrity while at emotional crossroads. In an all-consuming performance at once poignant and imperious, Angelina Jolie becomes Maria Callas, the American-born, Greek opera singer whose voice and intensely dramatic life captivated millions before her death from a heart attack at the age of 53. Set in Paris, September 1977, during the final week of her life,\u00a0Maria<\/i>\u00a0follows the legendary soprano as she negotiates her public image and private self and reckons with the increasingly blurred boundaries between the venerated \u201cLa Divina\u201d and the vulnerable human being Maria. Punctuated by grand operatic interludes,\u00a0Maria<\/i>\u00a0is exquisitely shot by Ed Lachman and features a vivid supporting cast that includes Kodi Smit-McPhee, Alba Rohrwacher, Pierfrancesco Favino, and Valeria Golino.<\/p>\n

Pavements
\n<\/b>Alex Ross Perry, U.S., 2024, 128m
\n<\/b>North American Premiere
\n<\/b>How best to commemorate the career of Pavement, one of the defining indie rock bands of the 1990s? Legendary frontman Stephen Malkmus would likely be opposed to the usual encomiums. A museum exhibition? How about a jukebox Broadway musical? Or perhaps a prestige movie biopic? Alex Ross Perry (Listen Up Philip<\/i>, NYFF52;\u00a0Her Smell<\/i>, NYFF56) gives us all of the above and more in his pleasurably rule-flouting sorta-documentary. Fueled by a sardonic, tricky sense of humor reminiscent of Pavement\u2019s caustic, idiosyncratic music, Perry\u2019s film shows little patience for hagiography\u2014or any other orthodoxy\u2014in its nonlinear, absurdist approach.\u00a0Pavements<\/i>\u00a0integrates archival footage of the band at the height of their cult popularity, newly shot material following them during their recent comeback tour in 2022, and a kaleidoscope of semi-scripted contemporary scenes about the shooting of a movie within the movie starring Jason Schwartzman, Fred Hechinger, Nat Wolff, Tim Heidecker, Logan Miller, and a hilarious Joe Keery as an actor seeking awards glory. Above all,\u00a0Pavements<\/i>\u2019 irreverent inquiry into mythmaking evinces a deep love for its subject and for a now lost alternative culture.<\/p>\n

A Real Pain
\n<\/b>Jesse Eisenberg, 2024, U.S.\/Poland, 90m
\n<\/b>Born weeks apart, cousins David (Jesse Eisenberg) and Benji (Kieran Culkin) were as close as brothers growing up, yet have drifted apart due to the responsibilities and disappointments of adult life. After the death of their beloved grandmother, a Holocaust survivor, David accompanies Benji on a trip to Poland, as a pilgrimage to both her hometown and to sites haunted by the genocide of World War II. Initially following a tour group (featuring elegantly scripted characters played with effortless nuance by such actors as Jennifer Grey, Kurt Egyiawan, and Will Sharpe), the tightly wound David and the manic-neurotic Benji confront their own raw resentments and personal demons, which are further laid bare by the backdrop of an insuperable history. Anchored by spirited performances by its dynamic stars, writer-director Eisenberg\u2019s\u00a0A Real Pain<\/i>\u00a0is a work of compassion and maturity that alternates nimbly between anxious comedy and meditative drama. A Searchlight Pictures release.<\/p>\n

Rumours
\n<\/b>Guy Maddin, Evan Johnson, Galen Johnson, 2024, Canada, 104m
\n<\/b>U.S. Premiere
\n<\/b>The world\u2019s wealthy democratic world leaders have come together for the annual G7 summit, trading quips and nervous smiles as they do their best to diplomatically discuss vague matters of international emergency and draft statements of import between sips of wine. Yet a major, unforeseen crisis looms on the horizon for the presidents, prime ministers, and chancellors\u2014nothing less than potential human apocalypse, hastened by the arrival of unearthed \u201cbog men\u201d from the Iron Age and a giant pulsating brain perched ominously in the woods. This sci-fi pulp satire finds Canadian trickster extraordinaire Guy Maddin (My Winnipeg<\/i>) and fellow Manitoban co-directors Evan Johnson and Galen Johnson in a particularly wacky mood, corralling an outstanding, starry cast\u2014including Cate Blanchett, Alicia Vikander, Denis M\u00e9nochet, Charles Dance, and Nikki Amuka-Bird\u2014for a merciless, midnight-movie skewering of the bureaucratic processes that govern our precarious reality. A Bleecker Street release.<\/p>\n

Sc\u00e9narios + Expos\u00e9 du Film annonce du film \u201cSc\u00e9nario\u201d
\n<\/b>Jean-Luc Godard, 2024, France, 53m
\n<\/b>French with English subtitles
\n<\/b>U.S. Premiere
\n<\/b>The release of Jean-Luc Godard\u2019s summative, elegiac 2018 feature,\u00a0The Image Book<\/i>\u00a0(NYFF56), a film about the end of things, would seem to be the final testament from one of the most important artists the medium has ever known. But now, two years after his death, the world has been gifted two more \u201clast films\u201d from Godard. An extraordinary epilogue to an uncompromised career,\u00a0Sc\u00e9narios<\/i>\u00a0assembles and layers paintings, collages, film clips, stills, and narration, including text from Sartre, read on screen\u2014in an overwhelmingly poignant appearance\u2014by Godard the day before his assisted death.\u00a0Sc\u00e9narios<\/i>\u00a0(17m) will be followed by\u00a0Expos\u00e9 du film annonce du film \u201cScenario\u201d<\/i>\u00a0(36m), a documentary shot in 2021 by longtime collaborator Fabrice Aragno that affords a remarkable glimpse into the maestro\u2019s agile mind at work: here Godard outlines a previous version of the project, a feature film never to be made.<\/p>\n

TWST \/ Things We Said Today
\n<\/b>Andrei Ujic\u0103, 2024, France\/Romania, 87m
\n<\/b>English, French, and German with English subtitles
\n<\/b>North American Premiere
\n<\/b>It\u2019s August 1965, and John, Paul, George, and Ringo have descended upon New York for a sold-out concert at Queens\u2019 massive Shea Stadium. Throngs of young superfans stricken with Beatlemania tear through the streets of Manhattan for a glimpse of the Liverpudlians from their hotel room window. But this tells only one part of the story of that hot summer weekend in the metropolis. More than a decade in the making, Romanian filmmaker Andrei Ujic\u0103\u2019s first feature since the monumental\u00a0The Autobiography of Nicolae Ceausescu<\/i>\u00a0(NYFF48) finds the found-footage maestro fabricating a fresh kind of city symphony. This variegated rendering of New York and its people, from Harlem to Jones Beach, from the mundane to the magical, is made up entirely of archival material, from news station broadcasts to personal 8mm film diaries to the climactic concert scenes shot on 35mm. Ujic\u0103\u2019s fanciful documentary is also a work of imagination, using superimposed animated drawings (by French artist Yann Kebbi) and descriptive voice-over (from personal writings by Geoffrey O\u2019Brien and Judith Kristen, and Ujic\u0103\u2019s own poetry) to memorialize this vanished moment in history with poignant, distinctive flair.<\/p>\n

Union
\n<\/b>Brett Story, Stephen Maing, 2024, U.S., 104m
\n<\/b>In 2022, workers at an Amazon warehouse in Staten Island, sick and tired of the lack of job stability from a company notorious for constant worker turnover, made national headlines after the newly formed Amazon Labor Union voted to unionize. For their absorbing documentary, Brett Story (The Hottest August<\/i>) and Stephen Maing (Crime + Punishment<\/i>) follow the day-to-day struggles of the ALU, made up of current and former employees, including charismatic and indefatigable leader Chris Smalls, and capture the events that led to this remarkable\u2014but by no means conclusive\u2014historical moment. The result is an immersive portrait that celebrates solidarity while acknowledging the difficult decisions and internal conflicts that make any collective action possible\u2014especially when up against a corporate goliath in a post-Reagan era when worker organizations have become political anathema.<\/p>\n<\/div>\n<\/div>\n

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FILM AT LINCOLN CENTER
\n<\/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, 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.\u00a0<\/b><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

\u00a9Images: Maria, A Real Pain, Emilia P\u00e9rez FILM AT LINCOLN CENTER ANNOUNCES SPOTLIGHT FOR THE 62ND NEW YORK FILM FESTIVAL North American premieres are Leos Carax‘s\u00a0It’s Not Me, Alex Ross Perry’s\u00a0Pavements, and Andrei\u00a0Ujic\u0103\u2019s\u00a0TWST \/ Things We Said Today U.S. premiere of documentary\u00a0Elton John: Never Too Late with an appearance by Elton John and directors R.J….<\/p>\n","protected":false},"author":2,"featured_media":25512,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[32,20471],"tags":[20173,9361,23796,23799,23798,2503,860,5879,2259,327,2644,23797,20172,23800],"acf":[],"yoast_head":"\nFLC Announces New York Film Festival 62 Spotlight Selections<\/title>\n<meta name=\"description\" content=\"FILM AT LINCOLN CENTER ANNOUNCES\u00a0SPOTLIGHT FOR THE 62ND NEW YORK FILM FESTIVAL, Leos Carax, Alex Ross Perry and more.\" \/>\n<meta name=\"robots\" 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