{"id":3137,"date":"2021-06-28T10:50:30","date_gmt":"2021-06-28T14:50:30","guid":{"rendered":"https:\/\/cinemadailyus.com\/?p=3137"},"modified":"2021-06-28T10:50:30","modified_gmt":"2021-06-28T14:50:30","slug":"film-at-lincoln-center-announces-summer-2021-lineup","status":"publish","type":"post","link":"https:\/\/cinemadailyus.com\/?p=3137","title":{"rendered":"Film at Lincoln Center Announces Summer 2021 Lineup"},"content":{"rendered":"
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Photo : L to R: Annette, Days, Faya Dayi and The Woman Who Ran<\/p>\n

Film at Lincoln Center<\/strong> has announced the full lineup of festival, repertory, and new release programming for the 2021 summer season.<\/p>\n

Summer highlights include returning annual festivals Dance on Camera and the New York Asian Film Festival; a revival of Jafar Panahi\u2019s newly remastered Crimson Gold<\/i> (NYFF41); exciting new releases such as Hong Sangsoo\u2019s playful comedy The Woman Who Ran<\/i>; Annette<\/i>, <\/i>director Leos Carax\u2019s eagerly anticipated follow-up to Holy Motors<\/i>; Tsai Ming-liang\u2019s Berlinale prizewinner <\/i>Days<\/i>; <\/i>Ailey<\/i>, Jamila Wignot\u2019s celebratory documentary about visionary choreographer Alvin Ailey (with a sneak preview on July 12 as part of Lincoln Center\u2019s Restart Stages initiative); I<\/i>sabella<\/i>, Mat\u00edas Pi\u00f1eiro\u2019s latest feature, inspired by Shakespeare\u2019s Measure for Measure<\/i>;<\/i> and from the 2021 New Directors\/New Films festival, Jessica Beshir\u2019s ethereal Faya Dayi<\/i>. And as previously announced, Big Screen Summer: NYFF58 Redux continues, featuring limited runs and other highlights from last year\u2019s festival, in theaters for the first time.<\/p>\n

Film descriptions and additional details are listed below and on <\/i>filmlinc.org<\/i><\/a>. New releases and revival runs are organized by Florence Almozini, Dennis Lim, and Tyler Wilson.<\/i><\/p>\n<\/div>\n<\/div>\n

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FILMS & DESCRIPTIONS<\/u>
\nAll films screen in the Walter Reade Theater (165 W. 65th St.) unless otherwise noted.<\/p>\n<\/div>\n<\/div>\n

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June 11 \u2013 August 26<\/a>
\n<\/b>Big Screen Summer: NYFF58 Redux
\n<\/b>Last fall, the New York Film Festival was forced to adapt to the extraordinary circumstances of the Covid-19 pandemic, with its screenings taking place virtually and at drive-in theaters across the city\u2026 but not in cinemas, of course. Now that it\u2019s possible to hold in-theater screenings in New York City again, we thought it only right to bring back much of the NYFF58 lineup to be screened and seen as these films were meant to be. So, this summer, join Film at Lincoln Center in the air-conditioned darkness of the Walter Reade Theater and the Elinor Bunin Munroe Film Center to see these films writ large in a special series of encore screenings of 33 titles from NYFF58.<\/span><\/p>\n<\/div>\n<\/div>\n

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Limited runs screening as part of Big Screen Summer: NYFF58 Redux include:<\/i><\/b><\/p>\n

June 11 \u2013 24<\/a> <\/b>Lovers Rock\u00a0<\/b>dir. Steve Mc<\/sup>Queen (from the Small Axe<\/i> anthology)
\nJune 18 \u2013 24<\/a> <\/b> The Monopoly of Violence\u00a0<\/b>dir. David Dufresne
\nJune 25 \u2013 July 8<\/a> <\/b> Smooth Talk <\/b>dir. Joyce Chopra
\nJuly 2 \u2013 20<\/a> <\/b> Flowers of Shanghai <\/b>dir. Hou Hsiao-hsien
\nJuly 9 \u2013 15<\/a> <\/b> Her Socialist Smile <\/b>dir. John Gianvito
\nJuly 16 \u2013 22<\/a> <\/b> The Works and Days <\/b>dir. C.W Winter and Anders Edstr\u00f6m
\nJuly 23 \u2013 August 12<\/a> <\/b> Xiao Wu <\/b>dir. Jia Zhang-ke
\nJuly 28 \u2013 August 3<\/a> <\/b> The Year of the Discovery <\/b>dir. Luis L\u00f3pez Carrasco dir. Nicolas Pereda
\nJuly 30 \u2013 August 5<\/a><\/b> Fauna <\/b>dir. Nicolas Pereda<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Opens June 25\u2014FLC Virtual Cinema<\/a>
\n<\/b>Crimson Gold \/ Talaye sorkh
\n<\/b>Jafar Panahi, Iran, 2003, 96m
\n<\/b>Persian with English subtitles
\n<\/b>A searing critique of class conflict unfurls with compressed intensity in this newly remastered 2003 film by Jafar Panahi, from an original script by Abbas Kiarostami (reuniting the pair after their 1995 collaboration, The White Balloon<\/i>). Crimson Gold<\/i>focuses on Hussein (Hossain Emadeddin), a wounded veteran of the Iran-Iraq War lately relegated to delivering pizzas around Tehran\u2019s wealthy districts. Despite his sedate disposition, Hussein succumbs to desperation after economic pressures gradually ensnare his life. Panahi\u2019s concern isn\u2019t so much with the violent crime foreshadowed in the film\u2019s harrowing opening sequence as with the rage intrinsic to postwar Iran\u2019s class divisions and the ultimately fatal hold it takes on the country\u2019s marginalized people. An NYFF41 selection. A KimStim release.<\/p>\n

Opens July 9<\/a>
\n<\/b>The Woman Who Ran
\n<\/b>Hong Sangsoo, 2020, South Korea, 77m
\n<\/b>Korean with English subtitles
\n<\/b>Men are mostly, amusingly sidelined in Hong Sangsoo\u2019s latest delight, which is anchored by the director\u2019s regular collaborator\u2014and real-life partner\u2014Kim Minhee as the peripatetic Gamhee. Divided into three casually threaded yet distinct sections, the film follows Gamhee as she travels without her husband for the first time in years, visiting a succession of friends: two on purpose, one by chance. As usual, Hong allows the most minimal interactions to carry surprising weight, and uses subtle and sly narrative repetition to evoke a world of circular motion. The Woman Who Ran<\/i> also features one of Hong\u2019s most expert comic setpieces, a neighborly argument about stray cats that gets to the heart of the filmmaker\u2019s lovingly crafted world of thwarted connections and everyday dysfunction. An NYFF58 selection. A Cinema Guild release.<\/p>\n

July 16-19<\/a>
\n<\/b>Dance on Camera
\n<\/b>Featuring three in-person programs and a slate of virtual films from Dance on Camera’s historical archive, this hybrid 49th edition of the festival offers films that explore dance from a variety of perspectives and eras, particularly illuminating each decade of the festival’s history. Highlights this year include Pontus Lidberg’s stunning new film, Written on Water<\/i>, a sensual, philosophical interrogation of the permeable boundaries between fiction and reality, muse and siren, and the changeable roles we play in our lifelong quests for connection, love, and inspiration; Arthur Dong’s humorous and heartfelt Forbidden City<\/i>, about San Francisco\u2019s Chinatown nightclub scene in the 1930s and \u201940s; and films featuring the legendary work of Merce Cunningham, Jos\u00e9 Lim\u00f3n, and others. Dance on Camera will also present last year’s Best of Festival winners, which were only featured virtually, in theaters for the first time.
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\nOpens July 23<\/a>
\n<\/b>Ailey
\n<\/b>Jamila Wignot, USA, 2021, 82m
\n<\/b>Jamila Wignot\u2019s affectionate portrait of Alvin Ailey moves with the same spirited intensity embodied by the visionary founder of the world-renowned Alvin Ailey American Dance Theater. Ailey<\/i> poetically examines how its subject\u2019s fascinating life inspired his passion for dance, suffusing rare archival footage with Ailey\u2019s own words, in addition to interviews with celebrated company dancers and choreographers. Beginning with Ailey\u2019s early experiences in the rural South, which would eventually inspire some of his most memorable works, and culminating in the creation of a dance inspired by his life, this documentary captures the artist\u2019s enduring impact on modern dance and the preservation of the African-American cultural experience with fresh insight. A NEON release.<\/p>\n

FLC will also present a sneak preview of <\/i>Ailey as part of Lincoln Center\u2019s Restart Stages initiative on July 12\u2014details to be announced.<\/i><\/p>\n

Opens August 6<\/a>
\n<\/b>Annette
\n<\/b>Leos Carax, France, 2021, 140m
\n<\/b>Leos Carax’s much-anticipated follow-up to 2012’s brilliantly uncategorizable Holy Motors<\/i> is another staggeringly ambitious, unpredictable cinematic experience from the visionary director. A years-spanning musical melodrama drenched in greens and yellows, scored by oddball art-pop duo Sparks and based on their original story, Annette<\/i> marks the French director\u2019s first English-language film, which revolves around a celebrity couple in present-day Los Angeles. Henry (Adam Driver), a towering stand-up comedian, and Ann (Marion Cotillard), a world-famous singer, are living life happily in the spotlight until their world is upended after the birth of their first child, Annette, a mysterious little girl with a peculiar talent. Carax imbues his sixth feature with grandiose compositions, an exhilarating sense of movement, and a turbulent emotional register\u2014alternately moody, beguiling, effusive, and hilarious\u2014all the while toying with established genres in the most thrilling ways imaginable. An Amazon Studios release.<\/p>\n

August 6-22<\/a>
\n<\/b>New York Asian Film Festival
\n<\/b>Since 2002, the New York Asian Film Festival has been an annual celebration of the best and boldest in Asian cinema. As the first film festival in North America to champion the works of today\u2019s leading Asian auteurs, NYAFF continues to introduce vibrant and vital voices in films ranging from explosive blockbusters to eccentric arthouse gems. As we celebrate Asian representation more than ever before, NYAFF provides an essential connection and awareness to our community, to New Yorkers, and beyond through screenings in Lincoln Center theaters and FLC Virtual Cinema.
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\nOpens August 13<\/a>
\n<\/b>Days
\n<\/b>Tsai Ming-liang, 2020, Taiwan\/France, 127m
\n<\/b>Taiwanese with English subtitles
\n<\/b>The great Taiwanese filmmaker Tsai Ming-liang has been directing exquisite examinations of alienation, isolation, and the fleeting beauty of human connection featuring his muse Lee Kang-sheng for decades. His latest film, Days<\/i>\u2014his first feature-length fiction since 2013\u2019s magnificent Stray Dogs<\/i> (NYFF51)\u2014will undoubtedly stand as one of his best, sparest, and most intimate works. Lee once again stars as a variation on himself, wandering through a lonely urban landscape and seeking treatment in Hong Kong for a chronic illness; at the same time, a young Laotian immigrant working in Bangkok, played by Anong Houngheuangsy, goes about his daily routine. These two solitary men eventually come together in a moment of healing, tenderness, and sexual release. Among the most cathartic entries in Tsai\u2019s filmography, Days<\/i> is a work of longing, constructed with the director\u2019s customary brilliance at visual composition and shot through with profound empathy. An NYFF58 selection. A Grasshopper Film release.
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\nOpens August 27<\/a>
\n<\/b>Isabella
\n<\/b>Mat\u00edas Pi\u00f1eiro, 2020, Argentina, 80m
\n<\/b>Spanish with English subtitles
\n<\/b>Argentine filmmaker Mat\u00edas Pi\u00f1eiro continues to explore the porous line between performance and daily ritual in his most visually striking film yet. As in such subtly magical dramas of the everyday as The Princess of France<\/i> (NYFF52) and Hermia & Helena<\/i> (NYFF54), Pi\u00f1eiro uses a Shakespeare text to anchor a loose yet intellectually rigorous examination of life\u2019s loves, labors, and futile pursuits, all played out with the minutest of gestures. Isabella<\/i> uses Measure for Measure<\/i> as inspiration, with regular Pi\u00f1eiro players Mar\u00eda Villar and Agustina Mu\u00f1oz as Mariel, a teacher with stage aspirations, and Luciana, a more established actress. The filmmaker jumps around in time, from the days leading up to a crucial audition to years later, after the women have moved on to other dreams; meanwhile we keep returning to their collaboration on an entrancing, James Turrell\u2013like light installation. Pi\u00f1eiro\u2019s art has never been more graceful or structurally complex as in this work of solace amid anxiety and doubt. An NYFF58 selection. A Cinema Guild Release.<\/p>\n

Opens September 3<\/a>
\n<\/b>Faya Dayi
\n<\/b>Jessica Beshir, 2021, Ethiopia\/USA, 120m
\n<\/b>Amharic, Harari, and Oromiffa with English subtitles
\n<\/b>In her hypnotic documentary feature, Ethiopian-Mexican filmmaker Jessica Beshir explores the coexistence of everyday life and its mythical undercurrents. Though a deeply personal project\u2014Beshir was forced to leave her hometown of Harar with her family as a teenager due to growing political strife\u2014the film she returned to make about the city, its rural Oromo community of farmers, and the harvesting of the country\u2019s most sought-after export (the euphoria-inducing khat plant) is neither a straightforward work of nostalgia nor an issue-oriented doc about a particular drug culture. Rather, she has constructed something dreamlike: a film that uses light, texture, and sound to illuminate the spiritual lives of people whose experiences often become fodder for ripped-from-the-headlines tales of migration. A Janus Films release. A New Directors\/New Films 2021 selection.<\/p>\n

 <\/p>\n<\/div>\n<\/div>\n

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FILM AT LINCOLN CENTER<\/u><\/b>
\n<\/u><\/b><\/p>\n

Film at Lincoln Center is dedicated to supporting the art and elevating the craft of cinema and enriching film culture.<\/p>\n

Film at Lincoln Center fulfills its mission through the programming of festivals, series, retrospectives, and new releases; the publication of Film Comment<\/i>; the presentation of podcasts, talks, and special events; the creation and implementation of Artist Initiatives; and our Film in Education curriculum and screenings. Since its founding in 1969, this nonprofit organization has brought the celebration of American and international film to the world-renowned Lincoln Center arts complex, making the discussion and appreciation of cinema accessible to a broad audience and ensuring that it remains an essential art form for years to come.<\/p>\n

Support for the New York Film Festival is generously provided by Official Partners HBO and Campari, Benefactor Partner Netflix, Supporting Partners Hearst and Bloomberg Philanthropies, Contributing Partners Dolby, Turner Classic Movies, Radeberger Pilsner, Manhattan Portage, NYC Mayor’s Office of Media and Entertainment, and Hudson New York\u2014an SBE Hotel, and Media Partners Variety, Deadline Hollywood, The Hollywood Reporter, WABC-7, and WNET New York Public Media. American Airlines is the Official Airline of Film at Lincoln Center.<\/b><\/p>\n

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

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