New Directors\/New Films is presented by Film at Lincoln Center and The Museum of Modern Art.<\/p>\n
Major support for Film at Lincoln Center is provided by the New Wave Membership Program and American Airlines, the official airline of Film at Lincoln Center. Additional funding is provided in part by the National Endowment for the Arts, and is made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.<\/p>\n
Film at MoMA is made possible by CHANEL. Additional support is provided by the Annual Film Fund. Leadership support for the Annual Film Fund is provided by Debra and Leon D. Black and by Steven Tisch, with major contributions from the Contemporary Arts Council of The Museum of Modern Art, Jo Carole and Ronald S. Lauder, MoMA\u2019s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation, the Association of Independent Commercial Producers (AICP), The Junior Associates of The Museum of Modern Art, the Samuel I. Newhouse Foundation, Karen and Gary Winnick, and The Brown Foundation, Inc., of Houston.<\/p>\n
Film Titles & Descriptions
\n<\/b>Films will screen at either the Film at Lincoln Center Walter Reade Theater (165 W. 65th Street) <\/i>or The Museum of Modern Art Titus 1 \/ Titus 2 Theaters (11 W. 53rd Street).
\n<\/i>Please note the screening location for each film below.<\/i><\/p>\n
OPENING NIGHT<\/b><\/p>\n
![\"\"](\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2022\/04\/Happening-744x1024.jpg\")
<\/b>Happening
\n<\/b>Audrey Diwan, 2021, France, 100m
\n<\/b>French with English subtitles<\/b><\/p>\n
Winner of the Venice International Film Festival\u2019s prestigious Golden Lion, Audrey Diwan\u2019s exceptionally well-observed breakthrough is an unsparing, gripping portrait of a young woman\u2019s attempts to secure an illegal abortion in 1960s France. A student of ambition and promise, hoping to leave her small town and embark on a professional life of the mind, Anne Duchesne (Anamaria Vartolomei in a brave, overwhelming performance) finds her entire future thrown into doubt upon discovering that she\u2019s pregnant. Sure to be one of the most talked-about movies of the year, Happening, <\/i>based on the semi-autobiographical novel by acclaimed author Annie Ernaux, is a drama that incrementally builds in power, showing the step-by-step process by which an ordinary young woman attempts to establish her freedom and ownership of her body. An IFC Films release.
\nWednesday, April 20
\n<\/b>7:00pm, MoMA T1 (Q&A with Audrey Diwan and Anamaria Vartolomei)
\n<\/b>7:30pm, MoMA T2 (Introduction by Audrey Diwan and Anamaria Vartolomei)<\/b>
\n<\/b>Thursday, April 21
\n<\/b>3:30pm, FLC Walter Reade Theater<\/b><\/p>\n
CLOSING NIGHT<\/b><\/p>\n
![\"\"](\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2022\/04\/The-African-Desperate-687x1024.jpg\")
<\/p>\n
<\/b>The African Desperate
\n<\/b>Martine Syms, 2022, USA, 100m
\n<\/b>World Premiere<\/b><\/p>\n
This frantic, wildly engaging debut feature from Martine Syms lunges through 24 crucial yet wayward hours in the life of Palace (Syms\u2019s fellow visual artist Diamond Stingily). Following a bizarre and blithely passive-aggressive final interview with her all-white faculty, Palace receives her MFA from an upstate New York art school. Rather than attend that night\u2019s graduation party with friends, she vows to relax and get out of Dodge, back to her hometown of Chicago. However, the night doesn\u2019t go as planned, and Syms takes Palace on a hazy, often hilarious, occasionally surreal trip through those moments where one\u2019s life feels balanced on a precipice. The African Desperate<\/i> has its own singular momentum, fueled by Syms\u2019s cutting satire and aesthetic invention, and coasting on the rhythms of Stingily\u2019s sly, expertly deadpan comic performance.
\nSaturday, April 30
\n<\/b>6:00pm, FLC Walter Reade Theater (Q&A with Martine Syms)
\n<\/b>9:00pm, FLC Walter Reade Theater (Q&A with Martine Syms)
\n<\/b>Sunday, May 1
\n<\/b>2:45pm, MoMA T2 <\/b>(Q&A with Martine Syms)<\/b><\/p>\n
Album for the Youth
\n<\/b>Malena Solarz, 2021, Argentina, 81m
\n<\/b>Spanish with English subtitles
\n<\/b>North American Premiere<\/b><\/p>\n
In her solo debut feature, director Malena Solarz takes a surprising, gentle, altogether gratifying approach to the coming-of-age genre. Encouraging naturalistic performances from her charming cast and using a rigorously unshowy visual approach, Solarz explores how young people navigate their creative impulses, focusing on Sol (Ariel Rausch) and Pedro (Santiago Canepari), who, during summer break after high school graduation, prepare for possible futures as, respectively, a musician and a playwright. Drifting through tiny, mundane moments of connection and personal growth, exam preparations and writing workshops, Album for the Youth<\/i> eschews predictable narrative beats of revelation; rather than being exalted, artistic endeavor is treated as a natural part of the human condition.
\nThursday, April 21
\n<\/b>8:45pm, FLC Walter Reade Theater (Q&A with Malena Solarz)
\n<\/b>Sunday, April 24
\n<\/b>6:45pm, <\/b>MoMA T2 <\/b>(Q&A with Malena Solarz)<\/b><\/p>\n
The Apartment with Two Women
\n<\/b>Kim Se-in, 2021, South Korea, 139m
\n<\/b>Korean with English subtitles
\n<\/b>North American Premiere<\/b><\/p>\n
Living together in a cramped city apartment, middle-aged single mother Su-kyung and her twentysomething daughter Yi-jung have long since settled into a relationship of simmering mutual resentment. Escalating frustrations in both of their lives\u2014romantic, professional, and certainly domestic\u2014drive them to a boiling point, and a shocking act allows Yi-jung to come to terms with the years of abuse she believes she has suffered. This nerve-jangling yet emotionally cleansing debut feature from Kim Se-in settles deep into the psychological folds of a parent and child caught in a vicious cycle of violence and dependency, and features a pair of lived-in, ruthlessly unsentimental performances by Lym Ji-ho and Yang Mal-bok. Blue Island The large-scale 2019 pro-democracy protests in Hong Kong and the subsequent crackdown on freedoms provide the urgent anchoring point for this remarkable vision from HK filmmaker Chan Tze Woon, a genre-defying plunge into the political morass that has been ever-widening between the former colony and the controlling Chinese state. Taking a panoramic view of these fractures, and covering acts of resistance from 1967 to today, Chan mixes documentary footage and fictional recreations of the past starring contemporary student protestors (many awaiting prison sentencing for speaking out). Blue Island<\/i> is an accomplishment of both political bravery and aesthetic daring, a film about the cyclical nature of history and the people who live within the folds of time, constantly on the edge of revolution. An Icarus Films release. The Cathedral A multigenerational family saga in extreme miniature, the new feature from singular American independent director Ricky D\u2019Ambrose, whose Notes on an Appearance<\/i> played at the festival in 2018, is his most refined, emotionally resonant work yet. Slicing across decades with impressionistic precision, The Cathedral<\/i> tells the formally economical yet engrossing story of the Damrosch family, whose quiet rise and fall is seen through the eyes of its youngest member, Jesse, born in the late \u201980s. Using photographs and archival news footage to buttress his oblique drama, D\u2019Ambrose shows how a family\u2019s financial and emotional wear and tear can subtly reflect a country\u2019s sociopolitical fortunes and follies. Children of the Mist In her extraordinary feature debut which resulted in a Best Directing award in the International Competition at IDFA 2021, Vietnamese filmmaker Di\u1ec5m H\u00e0 L\u1ec7 nestles her camera in with a family\u2014members of the indigenous Hmong ethnic minority\u2014living in the country\u2019s northern mountainous region. Here, cherubic 12-year-old Di plays with her friends among the mist-enshrouded hills and goes to school, one of her people\u2019s first generation with such access to education. However, the free-spirited Di is also forced to enter adulthood prematurely when she is subject to an unsettling matrimonial custom that creates rifts in her family and threatens to alter her future forever. Tender yet tough to shake, Di\u1ec5m\u2019s documentary immerses the viewer in a traditional world teetering on the brink of modernity, privileging us to know a young woman caught in the middle. The City and the City Using a radical, endlessly surprising narrative structure and a distinctive stylistic approach, Greek filmmakers Christos Passalis and Syllas Tzoumerkas tell of how the once-thriving Sephardic Jewish community in their native city of Thessaloniki was gradually decimated over the course of the violent 20th century. It\u2019s a properly disjointed and unsettled tale, zigzagging across time, and taking place on parallel contemporary and historical tracks, tracing moments of anti-Semitic persecution, the Nazi occupation of Greece, and lingering postwar trauma. Originating as an installation project, The City and the City<\/i> is a film of devastating emotional clarity and relentless force. Dos Estaciones One is unlikely to forget the subtle expressivity of Teresa S\u00e1nchez, winner of Sundance Film Festival\u2019s Special Jury Award for Acting and mysterious camera subject of Juan Pablo Gonz\u00e1lez\u2019s absorbing, immersive fiction feature debut. S\u00e1nchez holds the screen as Mar\u00eda, the taciturn yet fiercely committed owner of a troubled tequila factory in rural Jalisco. After taking a new financial administrator (Rafaela Fuentes) under her wing, Mar\u00eda is forced to reckon with the difficult realities of her business, both economical and natural. Gonz\u00e1lez and S\u00e1nchez always leave us on the mesmerizing outside of her emotional state, while making room for unexpected divergences, including a mid-film digression following the life of her hairdresser, Tat\u00edn (Tat\u00edn Vera, in an exquisitely modulated performance). Shot with sun-dappled radiance, Dos Estaciones<\/i> is a singular achievement: an interior portrait focused on the external processes of life and work. Father\u2019s Day Expertly weaving three seemingly disparate stories set in and around the city of Kigali, Rwandan filmmaker Kivu Ruhorahoza has constructed a rich, poignant story of loss and the various meanings of parentage. Zaninka (M\u00e9diatrice Kayitesi), a masseuse barely making ends meet in the COVID economy, is emotionally devastated by the accidental death of her teenage son, and her grief has begun to affect her marriage; Mukobwa (Aline Amike), caring for her ailing father, is conflicted over whether she should become an organ donor to save his life; and Karara (Yves Kijyana) is a small-time criminal who drags his impressionable young son into his increasingly violent schemes. Told with crystalline precision and escalating emotional intensity, Father\u2019s Day<\/i> is a tough, humane inquiry into the ostensibly sacred bonds that form contemporary patriarchal culture. Fire of Love World-famous volcanologists and lovers Katia and Maurice Krafft fearlessly observed and studied volcanic eruptions up close across the globe; they were at once intrepid adventurers, committed scientists, and innate filmmakers, capturing destructive earth ruptures with surreal beauty and terror. Tragically, they were killed together at the eruption of Japan\u2019s Mount Unzen in June 1991. Using a trove of the couple\u2019s monumental, almost otherworldly 16mm footage, filmmaker Sara Dosa consummately constructs the narrative of their remarkable lives, making the Kraffts into both vivid movie stars and unknowable figures whose pursuits constantly put them on the crater\u2019s edge of existence. Evocatively narrated by Miranda July, Fire of Love<\/i> is a transportive work of genuine awe. A National Geographic Documentary Films release. Full Time The everyday experiences of a divorced working mother desperately trying to make ends meet supply riveting, ferociously humane drama in \u00c9ric Gravel\u2019s marvel of economical storytelling. Living in a distant suburb of Paris, Julie (Laure Calamy) wakes each morning before dawn, rouses herself and her two small children, leaves the kids with an increasingly fed-up babysitter, and runs to catch the train into the city to start her agonizingly early day at a five-star hotel. When a general transportation strike cripples Paris, Julie finds her already tiring day entering the realm of the harrowing, especially considering the interview for the better, higher-paying job she can barely fit into her breathless schedule. Gravel\u2019s film of high-octane intensity, focused almost exclusively on Calamy\u2019s expressive, relatable weariness, positions the director as a major new voice in French cinema, evoking the work of the Dardenne brothers and Laurent Cantet. Hot in Day, Cold at Night An unemployed young couple spirals into ever-escalating economic precarity in Park Song-yeol\u2019s gripping, frequently amusing, and expertly written moral tale, fueled by the desperation of contemporary lower-middle-class living. Hot in Day, Cold at Night<\/i> follows Young-tae and Jeong-hee, appealingly played by the director and his co-writer Won Hyang-ra, as they try to make ends meet, pursuing dead-end jobs, picking up random gigs, and making the occasional bad or even dangerous choice. Park\u2019s direct, unforced aesthetic, always focused on the minutest gestures and expressions of his characters, reflects the film\u2019s mundane tenor, creating a work that is at once charming, empathetic, and satirical, and builds to a surprising moment of redemption. The Innocents Perhaps best known as the co-screenwriter of acclaimed Norwegian director Joachim Trier (The Worst Person in the World<\/i>), Eskil Vogt proves himself to be a filmmaker of astonishing skill and elemental force in his own right with this daring supernatural thriller. Set during the summer at an apartment complex surrounded by an ominous, fairy-tale-like forest, The Innocents<\/i> follows the sinister, increasingly alarming interactions of a group of prepubescent children: Ida (Rakel Lenora Fl\u00f8ttum), feeling ignored next to her autistic older sister Anna (Alva Brynsmo Ramstad); the bullied Ben (Sam Ashraf); and the angelic Aisha (Mina Yasmin Bremseth Asheim), who appears to communicate telepathically\u2014and feel through\u2014the nonverbal Anna. With unforgettable, dark images and fleet visual storytelling, Vogt\u2019s film pushes the \u201cevil children\u201d subgenre into more philosophical territory, creating a morally askew universe controlled by a child\u2019s primitive understanding of the world. An IFC Midnight release. Nanny A riveting Anna Diop commands nearly every frame of director Nikyatu Jusu\u2019s feature debut, a breakout at this year\u2019s Sundance, where it won the Dramatic Grand Jury Prize. In this psychologically complex fable of displacement tinged with supernatural horror, Diop plays Aisha, a woman recently emigrated from Senegal who is hired to care for the adorable daughter of an unbalanced white couple (Michelle Monaghan and Morgan Spector) living in New York\u2019s Tribeca neighborhood. Increasingly unsettled by the family\u2019s volatile home life, though desperate to make enough money to bring over her young son from Senegal, Aisha begins to unravel, finding her life in America to be more nightmare than dream. Mixing domestic melodrama with American genre elements and West African folklore, Nanny<\/i> is a spellbinding experience that defies expectation. An Blumhouse-Amazon Prime Video release. Once Upon a Time in Calcutta The memory of Bengali poet, social reformer, and presiding artistic spirit Rabindranath Tagore looms over Aditya Vikram Sengupta\u2019s sprawling yet intimate drama of contemporary urban life, an intricately constructed mosaic of people dealing with loss, economic disparity, industrial growth, and questions of basic human morality. Working with consummate Turkish cinematographer G\u00f6khan Tiryaki (Once Upon a Time in Anatolia<\/i>), Sengupta employs an elegant compositional aesthetic to his story of a grieving mother and former actress (the magnetic Sreelekha Mitra, in a richly inhabited performance) whose attempts at overcoming tragedy and moving on are consistently complicated by the needs of others in her orbit. Sengupta presents the irresolvable contradictions of modern life with clarity and invention, depicting a society in constant flux. Onoda \u2013 10,000 Nights in the Jungle In this absorbing epic, Arthur Harari immerses the viewer in the true story of Hiroo Onoda, a Japanese intelligence officer in the Imperial Army who was stationed on the Philippine island of Lubang during World War II, and, due to a combination of duty, nationalistic pride, and personal obstinacy, ended up marooned there for nearly 30 years, leading guerilla attacks and believing Japan was still at war. To tell this simultaneously absurd and poignant tale, Harari uses a classical narrative approach, punctuated by moments of meditative beauty, and anchored by the twin performances of Y\u00fbya End\u00f4 and Kanji Tsuda as Onoda. In dramatizing Onoda\u2019s extraordinary, isolated years on Lubang, Harari questions whether war and patriotism are entirely psychological states of being. Pilgrims A young woman and man reunite for a mission of initially unknown origin and goal. Indre (Gabija Bargailaite) and Paulius (Giedrius Kiela) are connected by a violent tragedy that killed Matas\u2014her boyfriend, his brother. Spurred on by Paulius\u2019s obsessive need to recount and relive the events that led to his death, they find themselves caught up in the past. Skillfully doling out narrative information piece by piece and layer upon layer in scenes marked by elegant, sinister single takes, Lithuanian filmmaker Laurynas Barei\u0161a has created a foreboding, yet ultimately hopeful portrait of people racked with trauma and unresolved anger. Winner of the Horizons Award at the 2021 Venice International Film Festival. Rehana This formally rigorous, breathlessly paced indictment of an abusive, protected patriarchal society is a tough-minded triumph from Bangladeshi filmmaker Abdullah Mohammad Saad. The title character, played ferociously by Azmeri Haque Badhon, is an assistant professor at a university hospital; after she witnesses an instance of inappropriate sexual behavior between a male associate and a female student, she tries to do what she believes to be the right thing, only to be met with resistance on every level. Saad\u2019s galvanizing tale is deepened by a parallel narrative involving Rehana\u2019s young daughter, whose own burgeoning problems create a kind of mirror to her mother\u2019s plight. Saad\u2019s intense, claustrophobic filmmaking\u2014keeping almost every shot indoors\u2014adds to the sense of a world mired in a moral fog. A Grasshopper Film and Gratitude Films co-release. Riotsville, USA Meticulously conceived and masterfully constructed, filmmaker Sierra Pettengill\u2019s documentary exclusively employs archival footage to excavate the racist governmental crackdown on Black Americans in the late \u201960s. The film\u2019s centerpiece is the astonishing, unsettling footage of police and National Guardsmen being trained in fake towns known as Riotsvilles, constructed on military bases and populated by participants \u201cplaying\u201d rioters. Buoyed and complicated by philosophical voiceover narration written by critic Tobi Haslett, and precisely edited by Nels Bangerter, Pettengill\u2019s film is a trancelike yet politically urgent work of historical record\u2013resetting, using a tumultuous era not to wall off the past but to clarify how little has changed in terms of the political scapegoating and violence the U.S. government uses against its Black citizens. Robe of Gems Deep in the Mexican countryside, a community is plagued by the constant threat of looming violence. Here, three women from different social classes\u2014a maid, her wealthy employer, and a police officer\u2014become tragically affected by a missing-person case related to organized crime. A work of accruing power and sinister depths simmering below a placid surface, Robe of Gems<\/i> is the accomplished, unsettlingly oblique debut feature by Berlin Film Festival Silver Bear\u2013winner Natalia L\u00f3pez Gallardo (previously an editor for such filmmakers as Carlos Reygadas and Lisandro Alonso). Filled with unshakable images, Robe of Gems <\/i>weaves an ever-expanding web of characters touched by violence, trauma, and daily rupture. Shankar\u2019s Fairies In her delicately composed, heartrending debut fiction feature, Irfana Majumdar recreates the meticulous, cloistered world of a young girl growing up in a privileged household in India in the early 1960s. The sensitive child of a senior police official, Anjana (Shreeja Mishra) forges a close bond with her parents\u2019 servant, Shankar (Jaihind Kumar), who acts kindly toward her though he remains separated from his own daughter, who lives back in his village. Evoking her mother\u2019s childhood memories, Majumdar dramatizes intimate moments that quietly, persuasively speak to the country\u2019s deeply entrenched caste system and lingering colonialist mindset, while also using the camera to capture the beauty and tactility of the girl\u2019s physical world. Singing in the Wilderness The Miao people are a historically marginalized ethnic group living in the mountainous Southwest Chinese province of Yunnan. Many in the community have held deep-seated Christian beliefs for nearly a century, following the influence of western missionaries. In her poignant and thought-provoking documentary, Dongnan Chen follows the rise to national prominence of a Christian choir from the Miao community. Taking the viewer from their home in Little Well Village, where they become tourist attractions, to their performances in Beijing and even a well-attended concert at New York\u2019s Lincoln Center, the director shows how the choir was co-opted for government party propaganda, while also following certain choristers\u2019 lives through personal trials and arranged marriages. Singing in the Wilderness<\/i> is a contemplative work of nonfiction that raises crucial questions of faith, globalization, and identity. Small, Slow But Steady Introverted, sullen, and wildly skilled, Keiko Ogawa (Yukino Kishii) is a semiprofessional boxer navigating a largely male environment; she\u2019s also been deaf since childhood, taking up the sport at an early age both to fend off bullies and to focus her attention on something tactile. Now in her twenties, and making ends meet as a chambermaid while living with her loving brother, she finds her greatest refuge in the economically struggling Tokyo gym where she trains with the aging Chairman (Tomokazu Miura), whose health is in decline. Keeping Keiko at arm\u2019s length, Sh\u00f4 Miyake\u2019s scrupulously studied portrait of one woman\u2019s life, shot and set during the COVID pandemic, is an entirely physical experience, punctuated by moments of pure feeling. Talking About the Weather Diligently working toward a PhD in philosophy, Clara (Anne Sch\u00e4fer) has arrived at a crossroads. About to turn 40 and divorced, she has entered into an affair with an arrogant student; has increasing difficulty navigating the cold, cutthroat world of academia in Berlin; is trying to connect with her teenage daughter, who lives with her ex-husband; and feels estranged from her hausfrau mother, who still lives in the rural East German area where she was raised. In her absorbing and insightful feature debut, set largely over a few crucial days in Clara\u2019s life, Annika Pinske has created an acerbic drama about the interrelation of deep-seated class anxieties and personal neuroses, establishing herself as a figure to watch in the ever-expanding landscape of contemporary German cinema. White Building In this deeply affecting and precisely detailed study of the familial and psychological effects of rapid industrial change, first-time fiction feature director Kavich Neang creates a film of tactile vividness and otherworldly beauty set in his hometown of Phnom Penh. Twentyish Nang dreams of fame as a dancer and singer on Cambodia\u2019s Next Superstar<\/i>, but his hopes for the future are constantly thwarted by the realities of day-to-day life, specifically the looming destruction of the apartment complex where he and his family live\u2014and from which his parents refuse to be ejected and relocated. Moving between hushed realism and dreamlike interiority, White Building<\/i> announces major new talents in both Neang and star Piseth Chhun, who won the 2021 Venice Film Festival\u2019s Horizons best actor award for a performance of finely balanced sensitivity and charisma. A KimStim release. Shorts Program 1 Monday, April 25 Films listed in the order that they will screen<\/i><\/p>\n Five Minutes Older North Pole Suncatcher Astel Further and Further Away Shorts Program 2 Wednesday, April 27 Films listed in the order that they will screen<\/i><\/p>\n It\u2019s Raining Frogs Outside August Sky Lili Alone Crystallized Memory The Eternal Melody Madhu Films Schedule By Date and Venue<\/b><\/p>\n Wednesday, April 20th \u2013 Opening Night<\/b><\/p>\n MoMA Thursday, April 21st\u00a0<\/b><\/p>\n MoMA FLC Friday, April 22nd\u00a0<\/b><\/p>\n MoMA FLC Saturday, April 23rd\u00a0<\/b><\/p>\n MoMA FLC Sunday, April 24th\u00a0<\/b><\/p>\n MoMA FLC Monday, April 25th<\/b><\/p>\n MoMA FLC Tuesday, April 26th<\/b><\/p>\n MoMA FLC Wednesday, April 27th<\/b>\u00a0<\/b><\/p>\n MoMA FLC Thursday, April 28th<\/b>\u00a0<\/b><\/p>\n MoMA FLC Friday, April 29th<\/b><\/p>\n MoMA FLC Saturday, April 30th \u2013 Closing Night\u00a0<\/b><\/p>\n MoMA FLC Sunday, May 1st<\/b>\u00a0<\/b><\/p>\n MoMA FLC Subscribe to the Film at Lincoln Center<\/a> and The Museum of Modern Art<\/a> newsletters and follow ND\/NF on Twitter<\/a> and Facebook<\/a> for more updates.<\/p>\n","protected":false},"excerpt":{"rendered":" Film at Lincoln Center and The Museum of Modern Art announce the 51st edition of New Directors\/New Films (ND\/NF), April 20\u2013May 1. For more than half a century, the festival has celebrated filmmakers who speak to the present and anticipate the future of cinema, and whose bold work pushes the envelope in unexpected, striking ways….<\/p>\n","protected":false},"author":2,"featured_media":9466,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[335],"tags":[8258,8245,4568,8247,8255,6774,8251,2149,8252,8253,4043,8249,8254,8243,390,8136,8257,8259,8133,8260,8261,8138,8262,8264,8263,8265,8244,8246,8248,8250,8256,5148,8266],"acf":[],"yoast_head":"\n
\nThursday, April 28
\n<\/strong>6:00pm, MoMA T2 (Q&A with Kim Se-in)<\/strong>
\nSaturday, April 30
\n12:00pm, FLC Walter Reade Theater (Q&A with Kim Se-in)<\/strong><\/p>\n
\n<\/b>Chan Tze Woon, 2022, Hong Kong\/Japan, 97m
\n<\/b>Cantonese and Mandarin with English subtitles
\n<\/b>U.S. Premiere<\/b><\/p>\n
\nSaturday, April 30
\n<\/b>4:00pm, <\/b>MoMA T2 (Q&A with Chan Tze Woon)
\n<\/b>Sunday, May 1
\n<\/b>12:00pm, FLC Walter Reade Theater (Q&A with Chan Tze Woon)<\/b><\/p>\n
\n<\/b>Ricky D\u2019Ambrose, 2021, USA, 87m<\/b><\/p>\n
\nSaturday, April 23
\n<\/b>9:00pm, FLC Walter Reade Theater (Q&A with Ricky D\u2019Ambrose)
\n<\/b>Friday, April 29th
\n<\/b>8:00pm, MoMA T1 <\/b>(Q&A with Ricky D\u2019Ambrose)<\/b><\/p>\n
\n<\/b>Di\u1ec5m H\u00e0 L\u1ec7<\/b>, 2021, Vietnam, 90m
\n<\/b>Hmong and Vietnamese with English subtitles<\/b><\/p>\n
\nSaturday, April 30
\n<\/b>3:15pm, FLC Walter Reade Theater (Q&A with <\/b>Di\u1ec5m H\u00e0 L\u1ec7<\/b>)
\n<\/b>Sunday, May 1
\n<\/b>12:00pm, MoMA T2 (Q&A with <\/b>Di\u1ec5m H\u00e0 L\u1ec7<\/b>)<\/b><\/p>\n
\n<\/b>Christos Passalis and Syllas Tzoumerkas, 2022, Greece, 87m
\n<\/b>Greek, Latin, French, German, Turkish, and Armenian with English subtitles
\n<\/b>North American Premiere<\/b><\/p>\n
\nSaturday, April 23
\n<\/b>12:30pm, MoMA T2 (Q&A with Christos Passalis and Syllas Tzoumerkas)
\n<\/b>Sunday, April 24
\n<\/b>12:00pm, FLC Walter Reade Theater (Q&A with Christos Passalis and Syllas Tzoumerkas)<\/b><\/p>\n
\n<\/b>Juan Pablo Gonz\u00e1lez, 2022, Mexico, 99m
\n<\/b>Spanish with English subtitles<\/b><\/p>\n
\nFriday, April 29
\n<\/b>9:00pm, FLC Walter Reade Theater (Q&A with <\/b>Juan Pablo Gonz\u00e1lez<\/b>)
\n<\/b>Saturday, April 30
\n<\/b>6:30pm, MoMA T2 (Q&A with <\/b>Juan Pablo Gonz\u00e1lez<\/b>)<\/b><\/p>\n
\n<\/b>Kivu Ruhorahoza, 2022, Rwanda, 108m
\n<\/b>Kinyarwanda with English subtitles
\n<\/b>North American Premiere<\/b><\/p>\n
\nTuesday, April 26
\n<\/b>8:15pm, MoMA T2 (Q&A with <\/b>Kivu Ruhorahoza<\/b>)
\n<\/b>Wednesday, April 27
\n<\/b>6:00pm, FLC Walter Reade Theater (Q&A with <\/b>Kivu Ruhorahoza<\/b>)<\/b><\/p>\n
\n<\/b>Sara Dosa, 2022, USA\/Canada, 93m
\n<\/b>English and French with English subtitles<\/b><\/p>\n
\nWednesday, April 27
\n<\/b>8:30pm, MoMA T1 (Q&A with <\/b>Sara Dosa<\/b>)
\n<\/b>Thursday, April 28
\n<\/b>6pm, FLC Walter Reade Theater (Q&A with <\/b>Sara Dosa<\/b>)<\/b><\/p>\n
\n<\/b>\u00c9ric Gravel, 2021, France, 87m
\n<\/b>French with English subtitles
\n<\/b>North American Premiere<\/b><\/p>\n
\nFriday, April 22
\n<\/b>8:30pm, MoMA T2 (Q&A with <\/b>\u00c9ric Gravel<\/b>)
\n<\/b>Saturday, April 23
\n<\/b>3:45pm, FLC Walter Reade Theater <\/b>(Q&A with <\/b>\u00c9ric Gravel<\/b>)<\/b><\/p>\n
\n<\/b>Park Song-yeol, 2021, South Korea, 90m
\n<\/b>Korean with English subtitles
\n<\/b>North American Premiere<\/b><\/p>\n
\nMonday, April 25
\n<\/b>6:00pm, FLC Walter Reade Theater (Q&A with Park Song-yeol)
\n<\/b>Wednesday, April 27
\n<\/b>6:00pm, MoMA T2 <\/b>(Q&A with Park Song-yeol)<\/b><\/p>\n
\n<\/b>Eskil Vogt, 2021, Norway, 118m
\n<\/b>Norwegian with English subtitles<\/b><\/p>\n
\nSaturday, April 23
\n<\/b>5:30pm, MoMA T2 (Q&A with Eskil Vogt)
\n<\/b>Sunday, April 24
\n<\/b>5:00pm, FLC Walter Reade Theater <\/b>(Q&A with Eskil Vogt)<\/b><\/p>\n
\n<\/b>Nikyatu Jusu, 2022, USA, 99m
\n<\/b>English and Wolof with English subtitles<\/b><\/p>\n
\nFriday, April 22
\n<\/b>9:15pm, FLC Walter Reade Theater <\/b>(Q&A with Nikyatu Jusu)
\n<\/b>Saturday, April 23
\n<\/b>8:15pm, MoMA T1 <\/b>(Q&A with Nikyatu Jusu)<\/b><\/p>\n
\n<\/b>Aditya Vikram Sengupta, 2021, India\/France\/Norway, 133m
\n<\/b>Bengali with English subtitles<\/b><\/p>\n
\nSaturday, April 30
\n<\/b>1:00pm, MoMA T2
\n<\/b>Sunday, May 1
\n<\/b>3:00pm, FLC Walter Reade Theater<\/b><\/p>\n
\n<\/b>Arthur Harari, 2021, France\/Japan, 165m
\n<\/b>Japanese with English subtitles<\/b><\/p>\n
\nSaturday, April 23
\n<\/b>12:00pm, FLC Walter Reade Theater (Q&A with Arthur Harari)
\n<\/b>Sunday, April 24
\n<\/b>12:15pm, MoMA T2 (Q&A with Arthur Harari)<\/b><\/p>\n
\n<\/b>Laurynas Barei\u0161a, 2021, Lithuania, 92m
\n<\/b>Lithuanian with English subtitles<\/b>
\n<\/b>North American Premiere<\/b><\/p>\n
\nThursday, April 21
\n<\/b>8:15pm, MoMA T2
\n<\/b>Thursday, April 28
\n<\/b>8:45pm, FLC Walter Reade Theater<\/b><\/p>\n
\n<\/b>Abdullah Mohammad Saad, 2021, Bangladesh, 107m
\n<\/b>Bengali with English subtitles<\/b><\/p>\n
\nFriday, April 29
\n<\/b>6:15pm, FLC Walter Reade Theater (Q&A with Abdullah Mohammad Saad)
\n<\/b>Sunday, May 1
\n<\/b>5:45pm, MoMA T2 (Q&A with Abdullah Mohammad Saad)<\/b><\/p>\n
\n<\/b>Sierra Pettengill, 2022, USA, 91m<\/b><\/p>\n
\nSaturday, April 23rd
\n<\/b>6:30pm, FLC Walter Reade Theater <\/b>(Q&A with Sierra Pettengill)
\n<\/b>Friday, April 29th
\n<\/b>6:00pm, <\/b>MoMA T2 (Q&A with Sierra Pettengill)<\/b><\/p>\n
\n<\/b>Natalia L\u00f3pez Gallardo, 2022, Mexico\/Argentina, 118m
\n<\/b>Spanish with English subtitles
\n<\/b>North American Premiere<\/b><\/p>\n
\nFriday, April 22
\n<\/b>6:00pm, FLC Walter Reade Theater (Q&A with Natalia L\u00f3pez Gallardo)
\n<\/b>Saturday, April 23
\n<\/b>3:00pm, <\/b>MoMA T1 (Q&A with Natalia L\u00f3pez Gallardo)<\/b><\/p>\n
\n<\/b>Irfana Majumdar, 2021, India, 93m
\n<\/b>Hindi with English subtitles<\/b><\/p>\n
\nThursday, April 21
\n<\/b>6:00pm, MoMA T2
\n<\/b>Sunday, May 1
\n<\/b>6:30pm, FLC Walter Reade Theater<\/b><\/p>\n
\n<\/b>Dongnan Chen, 2021, China, 98m
\n<\/b>A-Hmao language<\/b> and Mandarin with English subtitles
\n<\/b>U.S. Premiere<\/b><\/p>\n
\nSunday, April 24
\n<\/b>4:00pm, MoMA T2 <\/b>(Q&A with Dongnan Chen)
\n<\/b>Tuesday, April 26
\n<\/b>6:00pm, FLC Walter Reade Theater <\/b>(Q&A with Dongnan Chen)<\/b><\/p>\n
\n<\/b>Sh\u00f4 Miyake, 2022, Japan\/France, 99m
\n<\/b>Japanese with English subtitles<\/b><\/p>\n
\nSunday, April 24
\n<\/b>8:00pm, FLC Walter Reade Theater<\/b> (Q&A with Sh\u00f4 Miyake)
\n<\/b>Tuesday, April 26
\n<\/b>6:00pm, MoMA T2<\/b> (Q&A with Sh\u00f4 Miyake)<\/b><\/p>\n
\n<\/b>Annika Pinske, 2022, Germany, 89m
\n<\/b>German with English subtitles<\/b><\/p>\n
\nSunday, April 24
\n<\/b>2:30pm, FLC Walter Reade Theater (Q&A with Annika Pinske)
\n<\/b>Monday, April 25
\n<\/b>6:00pm, MoMA T2 (Q&A with Annika Pinske)<\/b><\/p>\n
\n<\/b>Kavich Neang, 2021, Cambodia\/France\/China\/Qatar, 90m
\n<\/b>Khmer with English subtitles<\/b><\/p>\n
\nThursday, April 21
\n<\/b>6:00pm, FLC Walter Reade Theater<\/b> (Q&A with Kavich Neang)
\n<\/b>Friday, April 22
\n<\/b>6:00pm, MoMA T2<\/b> (Q&A with Kavich Neang)<\/b><\/p>\n
\n<\/b>TRT: 90m<\/p>\n
\n<\/b>8:30pm, MoMA T2
\n<\/b>Tuesday, April 26
\n<\/b>9:00pm, FLC Walter Reade Theater<\/b><\/p>\n
\n<\/b>Sara Szyma\u0144ska, Poland, 2021, 6m
\n<\/b>Polish with English subtitles
\n<\/b>Traversing a hilly, windmill-studded landscape by car en route to a lakeside picnic, sardonic twins Mela and Zenia bicker, snipe, and cajole the day away in this sensitive, vivid portrait of sisterly attachment.<\/p>\n
\n<\/b>Marija Apcevska, Macedonia\/Serbia, 2021, 15m
\n<\/b>Macedonian with English subtitles
\n<\/b>Thick white mist drifts heavily over the small town where teenage Margo navigates feelings of alienation among her more self-assured peers\u2014and strains to make sense of her own yearning to belong\u2014in Marija Apcevska\u2019s understated character study.<\/p>\n
\n<\/b>Kim Torres, Costa Rica\/Mexico, 2021, 20m
\n<\/b>Spanish with English subtitles
\n<\/b>\u201cI have a recurring dream \/ if I\u2019m reborn one day I\u2019ll have the sun in my mouth \/ I\u2019ll be hot and gleamy oil and everything will feel ok. Lol, \u201d writes @lilaaa to @dream.bby. Director Kim Torres crafts an atmospheric world awash in blue, where Lila spends her isolated days yearning for something more.<\/p>\n
\n<\/b>Ramata-Toulaye Sy, France\/Senegal, 2021, 25m
\n<\/b>Fulfuld\u00e9 with English subtitles
\n<\/b>In Ramata-Toulaye Sy\u2019s tender coming-of-age vignette, set in the rural Fouta region of northern Senegal, 13-year-old Astel takes pride in the daily task of watching over the family\u2019s herd of cattle with her father, until a wordless encounter with a stranger in the fields threatens to upend life as she knows it.<\/p>\n
\n<\/b>Polen Ly, Cambodia, 2022, 24m
\n<\/b>Bunong and Khmer with English subtitles
\n<\/b>Siblings Neang and Phal prepare to leave their rural village for a new life in the city, but Neang is drawn back to the town of their childhood, now the site of a hydroelectric dam. She makes the trek, communing with place and time, raising questions of how space holds memory and what we leave behind.<\/p>\n
\n<\/b>TRT: 95m<\/p>\n
\n<\/b>9:00pm, FLC Walter Reade Theater
\n<\/b>Thursday, April 28
\n<\/b>8:45pm, MoMA T2<\/b><\/p>\n
\n<\/b>Maria Estela Paiso, Philippines, 2022, 14m
\n<\/b>English, Sambal, and Filipino with English subtitles
\n<\/b>Ominous strangeness pervades the interiors of Maya\u2019s childhood home, where she shelters in solitude as catastrophe looms beyond. Director Maria Estela Paiso conjures an unsettling oneiric lyricism, juxtaposing surrealist animation with lush photography and a richly layered soundscape.<\/p>\n
\n<\/b>Jasmin Tenucci, Brazil\/Iceland, 2021, 15m
\n<\/b>Portuguese with English subtitles
\n<\/b>In S\u00e3o Paulo, the skies glow fiery orange and black as the rainforests burn. A pregnant nurse (a magnetic Badu Morais), anticipating new life but anxious for an uncertain future, surprises herself when she finds community in a Penecostal church.<\/p>\n
\n<\/b>Zou Jing, China\/Hong Kong\/Singapore, 2021, 22m
\n<\/b>Mandarin with English subtitles
\n<\/b>Lili trades the isolation of her rural town for the isolation of the big city when she leaves home to be a surrogate mother, with hopes of earning enough money to save her dying father.<\/p>\n
\n<\/b>Chonchanok Thanatteepwong, Thailand, 2021, 18m
\n<\/b>Thai with English subtitles
\n<\/b>Director Chonchanok Thanatteepwong casts his patient, searching gaze on an intimate natural setting in this delicate, finely textured meditation on loss, metaphysical longing, and making sense of what\u2019s left behind.<\/p>\n
\n<\/b>Niranjan Raj Bhetwal, Nepal, 2022, 14m
\n<\/b>Nepali with English subtitles
\n<\/b>When an elderly woman, living high in the mountains with her grown son, is visited in a dream by her late husband, mother and son go to great lengths to help ease his passage to the next world.<\/p>\n
\n<\/b>Tanmay Chowdhary and Tanvi Chowdhary, India, 2022, 13m
\n<\/b>Bengali with English subtitles
\n<\/b><\/b>Childhood friends, now in their twenties, reunite during a Durga Puja festival. Though this homecoming takes place in a bustling city, directors Tanmay and Tanvi Chowdhary create a world of intimacy over the course of one evening, as the girls hum electric with possibility.<\/p>\n
\n<\/b>7:00pm, Happening, T1
\n7:30pm, Happening, T2<\/p>\n
\n<\/b>6:00pm Shankar\u2019s Fairies, T2
\n8:15pm Pilgrims, T2<\/p>\n
\n<\/b>3:30pm Happening
\n6:00pm White Building
\n8:45pm Album for the Youth<\/p>\n
\n<\/b>6:00pm White Building, T2
\n8:30pm Full Time, T2<\/p>\n
\n<\/b>6pm Robe of Gems
\n9:15pm Nanny<\/p>\n
\n<\/b>12:30pm The City and the City, T2
\n3pm Robe of Gems, T1
\n5:30pm The Innocents, T2
\n8:15pm Nanny, T1<\/p>\n
\n<\/b>12pm Onoda \u2013 10000 Nights in the Jungle
\n3:45pm Full Time
\n6:30pm Riotsville, USA
\n9pm The Cathedral<\/p>\n
\n<\/b>12:15pm Onoda \u2013 10000 Nights in the Jungle, T2
\n4pm Singing in the Wilderness, T2
\n6:45pm Album for the Youth, T2<\/p>\n
\n<\/b>12pm The City and the City
\n2:30pm Talking about the Weather
\n5pm The Innocents
\n8pm Small, Slow But Steady<\/p>\n
\n<\/b>6pm Talking about the Weather, T2
\n8:30pm Shorts Program 1, T2<\/p>\n
\n<\/b>6pm Hot in Day, Cold at Night<\/p>\n
\n<\/b>6pm Small, Slow But Steady, T2
\n8:15pm Father\u2019s Day, T2<\/p>\n
\n<\/b>6pm Singing in the Wilderness
\n9pm Shorts Program 1<\/p>\n
\n<\/b>6pm Hot in Day, Cold at Night, T2
\n8:30pm Fire of Love, T1<\/p>\n
\n<\/b>6pm Father\u2019s Day
\n9pm Shorts Program 2<\/p>\n
\n<\/b>6pm The Apartment with Two Women, T2
\n8:45pm Shorts Program 2, T2<\/p>\n
\n<\/b>6pm Fire of Love
\n8:45pm Pilgrims<\/p>\n
\n<\/b>6pm Riotsville, USA, T2
\n8pm The Cathedral, T1<\/p>\n
\n<\/b>6:15pm Rehana
\n9pm Dos Estaciones<\/p>\n
\n<\/b>1pm Once Upon a Time in Calcutta, T2
\n4pm Blue Island, T2
\n6:30pm Dos Estaciones, T2<\/p>\n
\n<\/b>12pm The Apartment with Two Women
\n3:15pm Children of the Mist
\n6pm Closing Night: The African Desperate
\n9pm Closing Night: The African Desperate<\/p>\n
\n<\/b>12pm Children of the Mist, T2
\n2:45pm The African Desperate, T2
\n5:45pm Rehana, T2<\/p>\n
\n<\/b>12pm Blue Island
\n3pm Once Upon a Time in Calcutta
\n6:30pm Shankar\u2019s Fairies<\/p>\n