<\/ins>\nBelow the Clouds \/ Sotto le nuvole
\nGianfranco Rosi, 2025, Italy, 114m
\nItalian, Arabic, Japanese, and English with English subtitles
\nU.S. Premiere
\n<\/b>The great Italian documentarian Gianfranco Rosi (Notturno<\/i>, NYFF58) specializes in kaleidoscopic portraits of people living amid anxiety and uncertainty. Among his most striking and monumental works, his latest details with pointillist precision and unnerving beauty a region in Naples living under the shadow of Mount Vesuvius and above the simmering Campi Flegrei volcanic caldera, which has in recent years experienced increasingly frequent and alarming tremors. In this volatile environment, Rosi finds archeologists reckoning with both uncovered ancient artifacts and the wreckage of tomb raiders, squads of diggers descending into long abandoned tunnels, emergency centers already at breaking points, and a populace experiencing a generalized daily disquietude, fearful of an eruption like the one that buried Pompeii in 79 A.D. Linking modern and ancient life,\u00a0Below the Clouds<\/i>\u00a0alights on a specific region yet feels connected to everyone\u2019s contemporary moment\u2014the contemplation of the unimaginable nestled within our daily existence.<\/p>\n
BLKNWS: Terms & Conditions
\nKahlil Joseph, 2025, U.S., 107m
\nNew York Premiere
\n<\/b>Visual artist and filmmaker Kahlil Joseph\u2019s video installation\u00a0BLKNWS<\/i>\u00a0debuted in galleries and museums across the country in 2019, immersing viewers in the imagined world of a television news network from a Black perspective. After expanding this concept into a short film, Joseph has developed it even further into a feature film, and the result is a celebration of Black life that reconceptualizes and remediates common, corporate notions of journalism. Joseph\u2019s sprawling film is an uninterrupted gush of ideas, mixing newly shot footage and extant media, leaping from fantastical images to historical narratives, collapsing boundaries that often separate documentary and fiction. A multidimensional work of vision and ambition,\u00a0BLKNWS: Terms & Conditions\u00a0<\/i>offers an alternately riotous and meditative compendium of the Black experience. A Rich Spirit release.<\/p>\n
Cover-Up
\nLaura Poitras, Mark Obenhaus, 2025, U.S., 117m
\nEnglish, Vietnamese, and Arabic with English subtitles
\nNew York Premiere
\n<\/b>For the past six decades, Seymour Hersh has been at the front lines of political journalism in the United States. Hersh\u2019s breakthrough reportage has brought to the public\u2019s attention many of the most damning constitutional wrongdoings and cover-ups, from the My Lai massacre in South Vietnam to the CIA\u2019s involvement in plots to assassinate foreign leaders to the Iraq invasion and systematic tortures at Abu Ghraib. In many cases, the revelations of his work have led to governmental reckonings and legal ramifications, yet Hersh, now 88 and surrounded by boxes of files from decades of tireless work, sees himself not as a crusader but as a citizen just doing his job. In this arresting documentary, Laura Poitras (All the Beauty and the Bloodshed<\/i>, NYFF60) and Mark Obenhaus tell the wide-ranging story of Hersh (whose career has not been free of controversy itself). Though a decades-gestating project for the filmmakers,\u00a0Cover-Up<\/i>\u00a0couldn\u2019t have come at a more crucial moment, when freedom of the U.S. press is increasingly under fire by those in power.<\/p>\n
The Currents \/ Las Corrientes
\nMilagros Mumenthaler, 2025, Switzerland\/Argentina, 104m
\nSpanish with English subtitles
\nU.S. Premiere
\n<\/b>While on a work trip in Switzerland, where she\u2019s being f\u00eated for her storied fashion career, designer Lina (Isabel Aim\u00e9 Gonz\u00e1lez Sola) plunges herself, without warning, into an icy winter lake. After surviving the shocking ordeal, Lina returns to her hometown of Buenos Aires, yet a transformation has taken place within her, and she finds it impossible to readjust to her former life as a wife, mother, and artist, distancing herself from her husband (Esteban Bigliardi) and career. Acclaimed Argentinean filmmaker Milagros Mumenthaler (Back to Stay<\/i>) has constructed a compelling existential puzzle, a work of psychological interiority that, with its oblique narrative and complexly layered soundscape evoking a woman\u2019s enigmatic dissociation, recalls the work of Lucrecia Martel and Todd Haynes, yet with its own singular emotional perspective and aesthetic sophistication.<\/p>\n
Duse
\nPietro Marcello, 2025, Italy, 123m
\nItalian with English subtitles
\nU.S. Premiere
\n<\/b>Bringing the same intellectual and muscular energy to the historical biopic as he did with his momentous Jack London adaptation\u00a0Martin Eden<\/i>\u00a0(NYFF57), Pietro Marcello depicts the late career of legendary Italian actress Eleonora Duse, incarnated by the wondrously expressive Valeria Bruni Tedeschi. The diva emerges vulnerable yet undeterred from the cataclysm of World War I, taking the stage again in her sixties despite a tubercular condition and a knotty relationship with her resentful daughter (No\u00e9mie Merlant), even as world politics and the aesthetics of theater itself are on the verge of changing forever. Epitomizing the full-bodied emotional materiality of his subject, Marcello goes beyond the formal and structural limitations of the biographical film, examining how acting itself can be a reflection of modernity and how performing brought Duse closer to becoming a radical political being. As always, Marcello brings both great flourish and historical realism to his work, incorporating mesmerizing early-20th-century archival color footage into this fictionalized portrait of the life of the artistic mind.<\/p>\n
The Fence \/ Le Cri des Gardes
\nClaire Denis, 2025, France, 92m
\nEnglish and Yoruba with English subtitles
\nU.S. Premiere
\n<\/b>The absorbing new drama from Claire Denis (Beau Travail<\/i>, NYFF37) is centered around a fascinating, intractable t\u00eate-\u00e0-t\u00eate. On a white-run construction site in an acrid, dust-strewn town in West Africa, a local man named Albouny (the riveting Denis regular Isaach De Bankol\u00e9) has arrived to demand the immediate return of the dead body of his brother Nouofia, killed in a mysterious work accident. The site\u2019s anxious foreman, Horn (Matt Dillon), protected behind the perimeter fence, yet ruffled by Albouny\u2019s defiance and unflappability, is clearly hiding a terrible truth from the man. Set primarily over the course of one unrelenting night, Denis\u2019s film, based on Bernard-Marie Kolt\u00e8s\u2019s play\u00a0Black Battles with Dogs,\u00a0<\/i>also drifts on the neurotic vibrations of Horn\u2019s alienated younger wife (Mia McKenna-Bruce), just arrived from London, and his live-wire right-hand man (Tom Blyth), to whom Horn owes a secret debt. All these simmering tensions converge in Denis\u2019s unpredictable and intimate film, with which the French director returns to the subjects of colonialism and racial segregation so central to her unparalleled filmography.<\/p>\n
Gavagai
\nUlrich K\u00f6hler, 2025, Germany\/France, 91m
\nFrench, English, German, and Wolof with English subtitles
\nWorld Premiere
\n<\/b>In this charged, unexpected metacinematic drama from German director Ulrich K\u00f6hler (In My Room<\/i>, NYFF56), a radical new movie production of\u00a0Medea<\/i>, drastically altered from Euripides\u2019s original play, becomes the center of a series of unresolvable contemporary tensions. Nourou (Jean-Christophe Folly) and Maja (Maren Eggert) embody Jason and Medea on-screen, tussling with the film\u2019s high-anxiety director (Nathalie Richard) during the shoot in Senegal, all the while negotiating an adulterous romance off-set. Later, at the film\u2019s premiere in Berlin, Nourou, unresolved in his personal and professional life, has a rattling run-in with a racist security guard, which throws his\u2014and the film\u2019s\u2014world off its axis. K\u00f6hler specializes in cunning, tonally surprising films about cross-cultural disconnection, and\u00a0Gavagai<\/i>\u00a0is his most ambitious and expansive film yet\u2014a pinpoint-accurate account of moral crises and social biases, modern and ancient, internal and external.<\/p>\n
A House of Dynamite
\nKathryn Bigelow, 2025, U.S., 112m
\nNorth American Premiere
\n<\/b>At a remote military outpost, an unidentified incoming missile is detected, setting in motion an escalating series of actions and reactions across all levels of the United States government. With her trademark dynamic kineticism, Kathryn Bigelow (Strange Days<\/i>, NYFF33 Centerpiece) puts the viewer in the center of a crisis in which decisions must be made in limited time, based on incomplete and evolving information and untested protocols. Bigelow and screenwriter Noah Oppenheim construct a frighteningly plausible scenario in which a multitude of dilemmas\u2014practical and personal, bureaucratic and existential\u2014overlap in real time and at a mounting rate. The film\u2019s prismatic structure allows for a broad-scale thriller that entangles intimate dramas with an unfolding world-historic event, and the terrific ensemble cast, which includes Idris Elba, Rebecca Ferguson, Gabriel Basso, Jared Harris, and Tracy Letts, conjures vivid characters with muscular efficiency, bringing emotional depth to this taut, thought-provoking exploration of an all-too-believable nightmare. A Netflix release.<\/p>\n
I Only Rest in the Storm \/ O Riso e a Faca
\nPedro Pinho, 2025, Portugal\/Brazil\/France\/Romania, 211m
\nPortuguese and Creole with English subtitles
\nNorth American Premiere
\n<\/b>The charming, well-meaning environmental engineer Sergio (S\u00e9rgio Coragem) has traveled from Lisbon to Guinea-Bissau to meet with locals and research the possibility of his European company constructing a road that will connect the city areas to rural villages. While drifting through his revelatory trip, Sergio tentatively makes friends and lovers, talks to people who either embrace or abhor the possible project, and falls into conversations and confrontations about his place in this world: friend or interloper, lover or enemy? Portuguese filmmaker Pedro Pinho\u2019s epic yet scrappy\u2014and sexually fluid\u2014I Only Rest in the Storm\u00a0<\/i>is a playful and loose-limbed portrayal of the contemporary postcolonialist liberal mindset that cleverly cuts to the bone in one entertaining scene after another, and features an outstanding supporting performance by Cleo Di\u00e1ra (who won Best Actress in the Un Certain Regard section at this year\u2019s Cannes Film Festival) as a local businesswoman and bar owner who suffers no fools.<\/p>\n
If I Had Legs I\u2019d Kick You
\nMary Bronstein, 2025, U.S., 113m
\nNew York Premiere
\n<\/b>The nightmarish stresses of motherhood and work are pushed to their absurdist extremes in Mary Bronstein\u2019s stellar piece of cinematic anxiety, starring a bravura Rose Byrne as a woman on the verge of something far beyond a nervous breakdown. A therapist whose life has become one crisis after another, Linda (Byrne) and her young daughter (who requires a feeding tube due to a mysterious illness) have had to relocate to a motel following a cataclysmic ceiling leak in their house. Meanwhile, her own therapist and colleague (Conan O\u2019Brien, unlike you\u2019ve ever seen him) has reached his own boiling point, her toughest patient (Danielle Macdonald) is a needy bundle of nerves that\u2019s spilling over into Linda\u2019s personal life, and her belligerent husband (Christian Slater) is unhelpfully away on a business trip. Bronstein\u2019s breathless, pressure-cooker visual approach and Byrne\u2019s fearlessly committed performance (which earned her the Silver Bear at this year\u2019s Berlinale) contribute to a full-throttle film that depicts life as a series of never-ending fires\u2014without losing its sense of fanciful humor. An A24 release.<\/p>\n
It Was Just an Accident \/ Un simple accident
\nJafar Panahi, 2025, Iran\/France\/Luxembourg, 105m
\nPersian with English subtitles
\nNew York Premiere
\n<\/b>Jafar Panahi (No Bears<\/i>, NYFF60) reaffirms his status as one of this century\u2019s great cinematic heroes with perhaps his bravest film yet, which won him the Palme d\u2019Or at the 2025 Cannes Film Festival. Ever since he was arrested, imprisoned, and banned from making movies by the Iranian government 15 years ago, Panahi has found ways of producing films in secret and without official permission. Showing his political risk-taking as well as his confident command of craft,\u00a0It Was Just an Accident\u00a0<\/i>is his most explicit attack on his country\u2019s repressive regime, a cutting and darkly humorous thriller that concerns a mechanic, Vahid (Vahid Mobasseri), who believes he has reencountered by chance the government intelligence officer, Eghbal (Ebrahim Azizi), who had tortured him while under detainment. As Vahid enlists the services of acquaintances whose lives were also forever altered by Eghbal\u2019s cruelties, the thirst for revenge and the sense of danger escalate\u2014as do questions of moral choice and culpability. A NEON release.<\/p>\n
Jay Kelly
\nNoah Baumbach, 2025, U.K.\/U.S.\/Italy, 132m
\nNew York Premiere
\n<\/b>In his most captivating film role in years, George Clooney is cast\u2014fittingly\u2014as the last great movie star. Jay Kelly is at a crisis point: uninspired by his work, reeling from the loss of his mentor, and tormented by a run-in with a haunting figure from his past, he does the unthinkable, backing out of a big new production at the 11th hour in order to run off to Europe and catch up with his college-bound daughter in France before attending a career tribute in Italy. Unable to entirely shed his Hollywood skin, he finds himself trailed by his entourage, including his long-suffering manager (played by a marvelously fragile Adam Sandler). At once introspective and raucous, the stellar character study\u00a0Jay Kelly\u00a0<\/i>peeks at Hollywood narcissism with curiosity rather than judgment. Noah Baumbach (Marriage Story<\/i>, NYFF57 Centerpiece)\u00a0and co-writer Emily Mortimer walk a delicate balance between industry parody and heartfelt sentiment, moving in and out of Jay\u2019s past and present, fantasy and reality, probing the professional, familial, and moral life of a man for whom \u201call my memories are movies\u201d\u2014and who may be harboring more regrets than he cares to admit. A Netflix release.<\/p>\n
Kontinental \u201925
\nRadu Jude, 2025, Romania, 109m
\nRomanian with English subtitles
\nNorth American Premiere
\n<\/b>Following his recent triumphs\u00a0Bad Luck Banging or Loony Porn<\/i>\u00a0(NYFF59) and\u00a0Do Not Expect Too Much From the End of the World<\/i>\u00a0(NYFF61), Romanian filmmaker Radu Jude further confirms his status as the preeminent satirist of our contemporary sociopolitical miasma with this sly, gutting tale of a modern crisis of conscience. In the city of Cluj, located within the country\u2019s Transylvania region, a bailiff named Orsolya (Eszter Tompa) evicts the homeless Ion (Gabriel Spahiu) from the unused cellar of a local house to make way for the construction of the Kontinental boutique hotel. Her fateful decision proves to have great consequences, and Jude tracks her subsequent guilt trip with merciless humanity, echoing Rossellini\u2019s\u00a0Europa \u201951<\/i>. Rather than rely on simplistic caricature, Jude tells this story of Eastern European economic expansion, berserk nationalism, and the inability to create meaningful change with crushing relatability. Jude won the Silver Bear for best screenplay at this year\u2019s Berlinale. A 1-2 Special release.<\/p>\n
Landmarks \/ Nuestra Tierra
\nLucrecia Martel, 2025, Argentina\/U.S.\/Mexico\/France\/Netherlands\/Denmark, 122m
\nSpanish with English subtitles
\nNew York Premiere
\n<\/b>In October 2009, Javier Chocobar, a member of the Indigenous Chuchagasta community in northwest Argentina\u2019s Tucum\u00e1n Province, tried to defend himself and his people from being forcibly evicted from their land by a local landowner and two police officers. As a result, the 68-year-old man was shot and killed, and two other community members were wounded. In her expansive and enlightening first feature documentary, the great Argentinean filmmaker Lucrecia Martel (Zama<\/i>, NYFF55) takes a sweeping approach to this tragic true story, triangulating the murder trial of the three men, the lives of Chocobar and his fellow Chuchagasta people, and the centuries-old, colonialist legacy of land and property theft across Latin America. With a ravishing, at times vertiginous visual approach to filming the natural beauty of the contested land, Martel pays cinematic tribute to people whom history has systematically tried to erase.<\/p>\n
The Last One for the Road \/ Le Citt\u00e0 di Pianura
\nFrancesco Sossai, 2025, Italy\/Germany, 100m
\nItalian with English subtitles
\nU.S. Premiere
\n<\/b>Aimlessly if coolly navigating the absurdities of middle age, Doriano (Pierpaolo Capovilla) and Carlo (Sergio Romano) make for delightful company in Italian director Francesco Sossai\u2019s genial, wistful hangout movie. The two best friends, who can never seem to make that \u201cone last drink\u201d truly the last, imbibe and bicker and trade anecdotes as they traverse the Venetian countryside, befriending an anxious architecture student, Giulio (Filippo Scotti), who\u2019s cramming for an upcoming design exam. Imparting their screwball wisdom to Giulio, and even roping the younger man into some of their half-baked capers, Doriano and Carlo are welcome emissaries from an increasingly lost generation, disillusioned and adrift in our mercenary world yet holding on to the fleeting joys of life. Sossai has created a freeform, energetic comedy that echoes work by Aki Kaurism\u00e4ki and Richard Linklater yet has its own beautiful sense of rhythm and revelation.<\/p>\n
Late Fame
\nKent Jones, 2025, U.S., 96m
\nNorth American Premiere
\n<\/b>A wonderfully introspective Willem Dafoe lends his delicate gravitas to the role of Ed Saxberger, a once-upon-a-time New York poet who has worked at a post office for nearly four decades, his work now largely forgotten. After an eager and flattering young fan (Edmund Donovan) appears on his doorstep one night, Saxberger is welcomed into a new coterie of twentysomething admirers who hope to make him the central figure in an emerging literary salon. Intoxicated by the attention\u2014and the presence of the wannabe tragedienne Gloria (a sinuous, Kurt Weill\u2013crooning Greta Lee)\u2014Saxberger nevertheless must reckon with the authenticity of this newfound circle of aspirants. Kent Jones\u2019s thoughtful and marvelously witty second feature adapts Arthur Schnitzler\u2019s recently rediscovered novella\u00a0Late Fame<\/i>\u00a0(in a sly, hugely entertaining script by Oscar-nominated\u00a0May December<\/i>\u00a0writer Samy Burch), updating the Austrian writer\u2019s take on turn-of-the-century Vienna for a wistful yet unromantic look at a lost idea of downtown New York.<\/p>\n
The Love That Remains \/ \u00c1stin Sem Eftir Er
\nHlynur P\u00e1lmason, 2025, Iceland\/Denmark\/Sweden\/France, 109m
\nIcelandic, English, Swedish, and French with English subtitles
\nU.S. Premiere
\n<\/b>Charting the gradual evolution of a family in the midst of an irreparable fracture,\u00a0The Love That Remains<\/i>\u00a0is a poignant, crisply pointillistic domestic drama that observes life\u2019s changes with humor and whimsy, set against the majestic, ever-shifting Icelandic landscape. Visual artist Anna (Saga Gar\u00f0arsd\u00f3ttir) and fisherman Magn\u00fas (Sverrir Gu\u00f0nason) were teenage sweethearts but have recently grown apart, and Magn\u00fas has moved out of the house. As long as the newly estranged parents put on a good face, the children\u2014and their adorable sheepdog Panda (who won the prestigious Palme Dog award at Cannes)\u2014seem to take the split in stride. Yet as Magn\u00fas becomes increasingly alienated from his domestic life, harsh reality can\u2019t help but bubble to the surface. Hlynur P\u00e1lmason\u2019s follow-up to his austere 19th-century drama\u00a0Godland<\/i>\u00a0is a constantly surprising film with an immaculate sense of framing and pacing\u2014and an evocative, dulcet piano score by Harry Hunt\u2014dotted with idiosyncratic flights of fancy that never detract from the central emotional authenticity. A Janus Films release.<\/p>\n
Magellan \/ Magalh\u00e3es
\nLav Diaz, 2025, Portugal\/Spain\/France\/Philippines\/Taiwan, 160m
\nPortuguese, Spanish, Tagalog, and French with English subtitles
\nU.S. Premiere
\n<\/b>Every astonishing visual composition carries historical and political weight in the monumental new film from singular Filipino filmmaker Lav Diaz (Norte, The End of History,\u00a0<\/i>NYFF51). Gael Garc\u00eda Bernal brilliantly subordinates his stardom to Diaz\u2019s discerning camera, disappearing into the role of the Portuguese explorer Ferdinand Magellan, who, at the start of the 16th century, navigated a crew to Southeast Asia after convincing the Spanish crown to fund his journey. Rather than retell the mythical, received narratives of the Age of Discovery, Diaz mounts an impressive and absorbing story of colonial conquest and obsession, depicting Magellan\u2019s charted course to the Malayan Archipelago as a pitiless reckoning with human frailty and brutal violence as much as an evocation of overwhelming natural beauty. A Janus Films release.<\/p>\n
The Mastermind
\nKelly Reichardt, 2025, U.S., 110m
\nNew York Premiere
\n<\/b>In early-1970s Framingham, Massachusetts, taciturn family man James (Josh O\u2019Connor) makes the rash, largely inscrutable decision to orchestrate a heist at the local art museum, absconding with a selection of modern paintings\u2014without much of a plan. This autumnal, restrained, and often quite funny anti-thriller from Kelly Reichardt (Showing Up,<\/i>\u00a0NYFF60) sets this low-key criminal enterprise against a Nixon-era backdrop of alienation and political disillusionment. As always, Reichardt\u2019s impeccable craft is front and center: the film\u2019s naturalism and remarkable period detail creating a portrait of unerring authenticity and psychological mystery. Whether driven by social apathy or artistic passion, James\u2014effortlessly played by O\u2019Connor with hangdog elegance\u2014registers as a compelling update of the \u201970s American male loner archetype for another dispiriting, directionless time. A MUBI release.<\/p>\n
Miroirs No. 3
\nChristian Petzold, 2025, Germany, 86m
\nGerman with English subtitles
\nU.S. Premiere
\n<\/b>In the haunting new film from esteemed German director Christian Petzold (Transit<\/i>, NYFF56), his regular star Paula Beer plays Laura, a pianist from Berlin who finds herself in a transitory state. After surviving a violent car crash that kills her boyfriend, Laura is immediately taken in by Betty (Barbara Auer), a mysterious middle-aged woman who lives alone in an isolated house in the countryside. Strangers to one another, the two women build a quiet, respectful life together, though the reemergence of Betty\u2019s estranged husband and son sheds light on the tragic past that explains the murky present. The pleasurable enigma of\u00a0Miroirs No. 3<\/i>, named for a Ravel piano suite, returns Petzold to the metaphysical ambiguity of earlier films like\u00a0Yella<\/i>\u00a0(2007) and the themes of doubling in his cherished\u00a0Phoenix\u00a0<\/i>(2014), yet with a distinctive ethereality all its own: It\u2019s an economical and beautifully crafted work about the mystery of human interaction. A 1-2 Special release.<\/p>\n
No Other Choice \/ Eojjeol suga eopda
\nPark Chan-wook, 2025, South Korea, 139m
\nKorean with English subtitles
\nU.S. Premiere
\n<\/b>In his diabolical new thriller, Park Chan-wook (Decision to Leave<\/i>, NYFF60) crafts a dark fable about the cutthroat nature of contemporary work culture and the domestic desperation for material comfort. In a fine tightrope-walk of a performance, Lee Byung-hun brings humor and likability to the tricky role of Man-soo, a middle-aged husband and father who has been laid off from the paper manufacturing company to which he has devoted decades of his life. After an extended and increasingly worrisome period of unemployment, Man-soo begins to take merciless measures toward solidifying his standing with a potential new employer, leading to wild\u2014and ever more absurd\u2014acts of violence, crafted by Park in his inimitable and extravagant pitch-black comic style. Adapted from the Donald E. Westlake novel\u00a0The Ax<\/i>, updated for our precarious moment in time, Park\u2019s\u00a0No Other Choice\u00a0<\/i>is enthralling all the way to its brilliant bitter pill of an ending. A NEON release.<\/p>\n
Peter Hujar\u2019s Day
\nIra Sachs, 2025, U.S., 76m
\nNew York Premiere
\n<\/b>The photographer Peter Hujar, whose images exist in an important lineage and dialogue with the work of groundbreaking gay artists such as Robert Mapplethorpe and David Wojnarowicz, forms the center of the latest movie by fearless independent American filmmaker Ira Sachs (Passages<\/i>). Based on rediscovered transcripts from an unused 1974 interview by nonfiction writer Linda Rosenkrantz (played by Rebecca Hall), in which she asked Hujar (Ben Whishaw) to narrate the events of the previous day in minute detail, Sachs\u2019s film is a mesmerizing time warp, an illustration of the life of the creative mind, the quotidian and the imaginative at once, fully and lovingly inhabited by its two brilliant actors. With this engrossing and wholly unexpected film, Sachs shuttles us back to a specific moment in New York queer cultural history and a still-influential art scene that lives on in words as much as images. A Janus Films release.<\/p>\n
Resurrection \/\u00a0\u72c2\u91ce\u65f6\u4ee3
\nBi Gan, 2025, China\/France, 156m
\nChinese with English subtitles
\nNew York Premiere
\n<\/b>This phantasmagoric dream machine from visionary Chinese director Bi Gan (Long Day\u2019s Journey Into Night,<\/i>\u00a0NYFF56) is an elusive yet monumental love letter to a century of cinema. Unfolding over five chapters that feature a dazzling array of styles,\u00a0Resurrection<\/i>\u00a0is a cascade of imagery united by a luminous mythopoetic conceit: in a sci-fi-coded world where people have lost the desire to dream in the hopes of prolonging life, rogue \u201cfantasmers\u201d continue to stoke their imaginations and exist within unreality. From this magical premise, the film sends its ever-morphing protagonist (Jackson Yee) through a series of genres, from M\u00e9li\u00e8s-inflected silent fantasy to wartime thriller to con-artist buddy picture to millennial vampire romance\u2014the latter depicted in one of Bi\u2019s customary, and ever astonishing, single takes. Even within genre parameters, the director never takes the road well-traveled, offering jolts and marvels around every corner.\u00a0Resurrection<\/i>\u00a0is one of the most audacious and ambitious gifts for cinematic thrill-seekers in many a moon. A Janus Films release.<\/p>\n
Romer\u00eda
\nCarla Sim\u00f3n, 2025, Spain\/Germany, 112m
\nSpanish, Catalan, and French with English subtitles
\nNorth American Premiere
\n<\/b>Amidst the jagged cliffs and summery, sun-kissed shores of Vigo, on the Atlantic coast of Galicia in Spain, 18-year-old Marina (the arresting Ll\u00facia Garcia) has arrived on a deeply personal mission. Having lost both of her parents at a very young age, the orphaned young woman has set off on a journey to meet her paternal grandparents and extended family for the first time. While connecting with her affectionate, teeming new clan, Marina also is forced to reconcile with the past, negotiating her idealized memories of her parents and difficult truths that have been long buried. Alternating between 2004 and the early 1980s, evoked in hallucinatory, grainy flashbacks,\u00a0Romer\u00eda<\/i>\u00a0achingly dramatizes the processes of creating new memories and holding onto fleeting ones. Carla Sim\u00f3n (Alcarr\u00e0s<\/i>, NYFF60) proves again with this delicate, naturalistic, and poignantly autobiographical film that she is an essential voice in international cinema.<\/p>\n
Rose of Nevada
\nMark Jenkin, 2025, U.K., 114m
\nU.S. Premiere
\n<\/b>The singular Cornish filmmaker Mark Jenkin (Enys Men,<\/i>\u00a0NYFF60) brings his distinctive and bold storytelling approach to his most expansive work yet. Again immersing the viewer in the uncanny environments of the small towns along the coast of Cornwall, Jenkin spins a sci-fi-tinged tale of dislocation and regeneration. In a tiny, sparsely populated fishing village, a boat that had been lost at sea 30 years ago, the Rose of Nevada, suddenly reappears portside, fully intact and without its long-missing crew. Two local neophyte fishermen desperate for work (George MacKay and Callum Turner) take jobs on the boat as it sets out for a good-luck return voyage. When they return, all is no longer what it once was. Shot on 16mm, this earthy, psychological portrait of a working-class community\u2019s cyclical existence is an atmospheric plunge into the eerie.<\/p>\n
The Secret Agent \/ O Agente Secreto
\nKleber Mendon\u00e7a Filho, 2025, Brazil\/France\/Netherlands\/Germany, 159m
\nPortuguese with English subtitles
\nNew York Premiere
\n<\/b>The Brazilian director Kleber Mendon\u00e7a Filho, who has gifted us such breathtakers as\u00a0Aquarius<\/i>\u00a0(NYFF54) and\u00a0Bacurau<\/i>\u00a0(NYFF57), returns with a thrillingly unpredictable, empowering political fable about people swept up in forces beyond their control. A dynamic, shape-shifting epic set in Mendon\u00e7a\u2019s hometown of Recife during the late 1970s,\u00a0The Secret Agent\u00a0<\/i>earned him the Best Director award at Cannes. Wagner Moura was also deservedly honored as Best Actor at the festival for his magnetic performance as a widowed former university researcher whose life has been violently upended by the greed and vengeance of a government bureaucrat. On the run and living under an alias during the country\u2019s military dictatorship, he tries to escape, while also reconnecting with the young son he had to leave behind. Even this brief description cannot fully prepare the viewer for the zigzagging subplots and delights of Mendon\u00e7a\u2019s eccentric and affectionate ode to the movies and the Brazil of his youth\u2014and to maintaining individuality amid abuses of power. A NEON release.<\/p>\n
Sentimental Value \/ Affeksjonsverdi
\nJoachim Trier, 2025, Norway\/France\/Denmark\/Germany, 134m
\nNorwegian and English with English subtitles
\nNew York Premiere
\n<\/b>In Joachim Trier\u2019s follow-up to his beloved\u00a0The Worst Person in the World\u00a0<\/i>(NYFF59), Renate Reinsve burrows to the steely core of Nora Borg, an acclaimed stage actress going through the first rumblings of a personal crisis after the death of her mother. She and her devoted therapist sister, Agnes (Inga Ibsdotter Lilleaas), are suddenly forced to confront long-suppressed elements of their past when their estranged movie-director father, Gustav (a wonderfully restrained Stellan Skarsg\u00e5rd, conveying a world of regret in the smallest of gestures) returns with a script he has written for Nora. After she refuses the role, Gustav turns to an American movie star (Elle Fanning), further complicating his own attempt at reconciliation. Trier\u2019s insightful and captivating adult drama, which won the Grand Prix at the 2025 Cannes Film Festival, furthers the writer-director\u2019s piercing exploration of the frayed ties that bind us to one another and to our creative selves. A NEON release.<\/p>\n
Sir\u00e2t
\nOliver Laxe, 2025, France\/Spain, 115m
\nSpanish and French with English subtitles
\nU.S. Premiere
\n<\/b>The glorious and forbidding Moroccan desert provides the backdrop for this extraordinary psychological journey from Oliver Laxe (Fire Will Come,<\/i>\u00a0NYFF57), a Galician filmmaker of startling ambition. Sergi L\u00f3pez plays middle-aged Luis, whose worry over the disappearance of his daughter Mar has brought him, along with his young son, to Morocco. He believes she has fallen in with a group of nomadic thrill-seekers who are in pursuit of the next big rave in the desert. Tagging along with them in a makeshift caravan in the hopes he will find Mar, Luis is pushed toward emotional and physical extremes that extend far past his everyday comprehension. Even beyond the pulsing techno soundtrack and the majestic desolation of the landscape,\u00a0Sir\u00e2t<\/i>\u00a0(the title referring to the Islamic term for the razor-thin bridge between heaven and hell) creates a sensory experience of audacity and shock that touches the sublime. Joint winner of the Jury Prize at this year\u2019s Cannes Film Festival. A NEON release.<\/p>\n
Sound of Falling \/ In die Sonne schauen
\nMascha Schilinski, 2025, Germany, 149m
\nGerman with English subtitles
\nU.S. Premiere
\n<\/b>You can feel the presence of ghosts in the rooms and environs of a rural farmhouse in German filmmaker Mascha Schilinski\u2019s highly accomplished multigenerational saga.\u00a0Sound of Falling<\/i>\u00a0skips back and forth through time, alighting on moments of both horror and grace across a century in the lives of four women\u2014adolescent and adult\u2014inhabiting the same unsettled spaces. Using a fragmentary, collage-like approach that unites characters from different eras, from the turn of the 20th century to the post\u2013World World II era to the years of GDR rule and on to the present, Schilinski treats history like a constant haunting. Both sobering and dreamlike, with moments of genuine tenderness, her film bears witness to cycles of trauma and creates a devastating indictment of historical patriarchal abuse. Above all, it confirms the arrival of a major new talent, whose visionary narrative technique creates a fresh and striking cinematic grammar. Joint winner of the Jury Prize at this year\u2019s Cannes Film Festival. A MUBI release.<\/p>\n
Two Prosecutors
\nSergei Loznitsa, 2025, France\/Germany\/Netherlands\/Latvia\/Romania\/Lithuania, 118m
\nRussian with English subtitles
\nU.S. Premiere
\n<\/b>The latest film from the great Ukrainian director Sergei Loznitsa (My Joy,\u00a0<\/i>NYFF48) is a scalpel-precise tale of the horrors of totalitarian bureaucracy. Adapting a novel by Soviet writer and political prisoner Georgy Demidov, set in the Soviet Union in 1937, Loznitsa follows the attempts of an idealistic government-appointed prosecutor (Alexander Kuznetsov) to expose the mistreatment of a dissident Bolshevik writer who has been jailed and tortured without evidence of wrongdoing. As he gradually comes to realize, the lack of cause for the man\u2019s imprisonment is hardly unique under Stalin\u2019s regime, and the neophyte lawyer may be putting himself in danger by exposing his own moral righteousness. Loznitsa constructs his story with a patient yet unmistakable sense of mounting dread, focusing on the devastating minutiae that allows fascism to function in our world. A Janus Films release.<\/p>\n
What Does That Nature Say to You \/\u00a0\uadf8 \uc790\uc5f0\uc774 \ub124\uac8c \ubb50\ub77c\uace0 \ud558\ub2c8
\nHong Sangsoo, 2025, South Korea, 108m
\nKorean with English subtitles
\nNorth American Premiere
\n<\/b>Over the winding course of one languorous day, a good-natured thirtysomething poet, Donghwa (Ha Seongguk), visits the suburban home of his girlfriend, Junhee (Kang Soyi), and is introduced to her parents (Kwon Haehyo and Cho Yunhee) and sister (Park Miso) for the first time. Dazzled by the size of the home and the beauty of its rural environs, Seoul-dweller Donghwa bonds with the family, especially the benevolent patriarch, for whom family, tradition, and filial devotion seem paramount. Yet as the hours drift by\u2014and, of course, the\u00a0makgeolli\u00a0<\/i>flows\u2014Donghwa\u2019s anxieties gradually surface. Combining the casual familiarity of a meet-the-parents scenario with the lo-fi visual experimentation of his recent work like\u00a0In Water<\/i>\u00a0(NYFF61),\u00a0<\/i>Hong Sangsoo\u2019s latest keeps revealing new emotional layers, finally offering a rich examination of economic anxiety and contemporary alienation. A Cinema Guild release.<\/p>\n
FILM AT LINCOLN CENTER<\/b><\/span>
\n<\/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>\nFounded 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
Rolex is the Official Partner and Exclusive Timepiece of Film at Lincoln Center.<\/p>\n
Support for the New York Film Festival is also generously provided by Official Partner The New York Times; Supporting Partner Netflix; Contributing Partners Kino Film Collection from Kino Lorber Media Group, The Travel Agency: A Cannabis Store, Dolby, BritBox, New York Film Academy, the School of Visual Arts BFA Film, IMDbPro, Epson America, Inc., Manhattan Portage, and Thompson Central Park New York; Media Partners Variety, Deadline, WABC-TV, The Hollywood Reporter, The WNET Group, IndieWire, and The Envelope by the Los Angeles Times. Additional support is provided in part by the NYC Mayor\u2019s Office of Media and Entertainment and the 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.<\/p>\n<\/ins>\n","protected":false},"excerpt":{"rendered":"\u00a9Courtesy of Film at Lincoln Center Film at Lincoln Center (FLC) announces the 34 films selected for the Main Slate of the 63rd New York Film Festival (NYFF63), taking place September 26 through October 13, 2025. Presented by Film at Lincoln Center in partnership with Rolex, the New York Film Festival is an annual celebration…<\/p>\n","protected":false},"author":2,"featured_media":31037,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[34],"tags":[21782,2149,11043,28022,2878,19843,17290,28023,28020,28024,2568,28019,8444,27122,27118,27123,28021,28018,27119],"acf":[],"yoast_head":"\n
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