105 posts categorized "Film Festivals"

May 24, 2017

CANNES 2017: THE BEGUILED — PRESS CONFERENCE


Okay, so someone at the festival can't spell. Don't let that stop you from checking out the press conference for Sophia Coppola's latest film, The Beguiled, starring Colin Farrell, Nicole Kidman, Elle Fanning, Kristen Dunst, Angourie Rice, Addison Riecke, and, Youree Henley. The film is a woman's take on Don Siegel's 1971 filmic adaptation of Thomas Cullinan's novel.

May 03, 2017

Cannes Classics 2017: Program Announced

CANNES CLASSICS

The program of Cannes Classics 2017 will be dedicated for its most part to the history of the Festival.

Almost fifteen years ago, when the relationship between contemporary cinema and its own memory was about to be shaken by the emergent arrival of digital technology, the Festival de Cannes created Cannes Classics, a selection that displays the work of valorisation of heritage cinema carried out by the production companies, the right-holders, the cinematheques or the national archives around the world.

Being now an essential component of the Official Selection and a presence of the history of cinema which inspired several international festivals, Cannes Classics showcases vintage films and masterpieces of the history of cinema in restored prints. Because Cannes is also devoted with the mission of enchanting the audience of today's relationship with the memory of cinema, Cannes Classics puts the prestige of the biggest festival of the world at the service of the cinema rediscovered, accompanying all the new exhibitions: releasing in movie theaters, on VOD or on DVD/Blu-ray editions of the great works of the past.

The program of the 2017 edition of Cannes Classics consists of twenty-four screenings, one short film and five documentaries. The films are screened as wanted by the right-holders, in DCP 2K or DCP 4K, and L'Atalante by Jean Vigo that Gaumont wished to screen in 35mm.

The films selected for this 2017 edition will focus mostly on the history of Cannes. They come from nations that have allowed the Festival de Cannes to become a land of cinematographic discoveries: Hungary, Lebanon, Serbia, United Kingdom, Italy, United States, Israel, Mauritania, Niger, Poland, Switzerland, Japan, Spain, the Netherlands, Canada, Belgium and Australia. Many countries which also consider that safeguarding heritage cinema is essential.

The films will be screened in the Palais des Festivals, Salle Buñuel or Salle du Soixantième, in attendance of those who have restored them and, if they are still among us, of those who have directed them.

On the occasion of the celebration of its 70th edition, a brief history of the Festival of Cannes

From 1946 to 1992, from René Clément to Victor Erice, sixteen history-making films of the Festival de Cannes 

•1946: La Bataille du Rail (Battle of the Rails) by René Clément (1h25, France): Grand Prix International de la mise en scène and Prix du Jury International.
Presented by Ina. Film digitized and restored by Ina with the support of the CNC. 2K restoration made from an acetate interpositive and an answer print. Technical means: Jean-Pierre Peltier. Coordination: Bénilde Da Ponte, Brice Amouroux.

 •1953: Le Salaire de la peur (The Wages of Fear) by Henri-Georges Clouzot (1952, 2h33, France, Italy): Grand Prix.
Presented by TF1 Studio in collaboration with la Cinémathèque française and the support of the CNC, of the Archives audiovisuelles de Monaco, of Kodak and the CGR cinémas. 4K Restoration from nitrate image negative and a sound duplicate made by Hiventy. Please note that this presentation is the preview of a major Clouzot event scheduled in France in the fall of 2017.

•1956: Körhinta (Merry-Go-Round/Un Petit carrousel de fête) by Zoltán Fábri (1955, 1h30, Hungary): in Competition.
Presented by the Hungarian National Film Fund - Hungarian National Film Archive. A 4K Scan and Digital Restoration from the original 35mm image & sound negatives plus additional materials: the original dupe positive and another film positive. Restoration made by the Hungarian National Film Fund – Hungarian Filmlab.

•1957: Ila Ayn? (Vers l'inconnu ?) by Georges Nasser (1h30, Lebanon): in Competition.
Presented by Abbout Productions and Fondation Liban Cinema. With the generous support of Bankmed – Lebanon. The original 35mm Fine Grain Master Positive was scanned in 4k, retouched and color-corrected in a resolution of 2K. All works were carried out by Neyrac Films - France. Sound restoration by db Studios - Lebanon. In collaboration with The Talkies. World Sales: Nadi Lekol Nas. 

•1967: Skupljači Perja (I Even Met Happy Gypsies/J'ai même rencontré des Tziganes heureux) by Aleksandar Petrović (1h22, Serbia): in Competition, Grand Prix Spécial du Jury ex-æquo, Prix de la Critique Internationale - FIPRESCI ex-aequo
Presented by Jugoslovenska Kinoteka/The Yugoslav Film Archive and Malavida.
New 35mm print from the original negative in perfect shape then scanned in 2K and cleaned up.

•1967: Blow-up by Michelangelo Antonioni (1966, 1h51, United Kingdom, Italy, United States of America): Grand Prix International du Festival.
Presented by Criterion, Cineteca di Bologna and Istituto Luce - Cinecittà, in collaboration with Warner Bros and Park Circus. Restoration work carried out at Criterion, New York and L'Immagine Ritrovata, Bologna under the supervision of Director of Photography Luca Bigazzi.

•1969: Matzor (Siege/Siège) by Gilberto Tofano (1h29, Israel): in Competition.
A presentation of the Jerusalem Cinematheque – Israel Film Archive, in partnership with United King Films and the support of the Rabinovich Foundation. The original 35mm black and white negatives were scanned in 4K by Cinelab Romania. It was digitally restored and finalized in 2K by Opus Digital Lab in Tel Aviv. Restoration and color grading lead by Ido Karilla, supervised by DOP David Gurfinkel.

•1970: Soleil O (Oh, Sun) by Med Hondo (1h38, Mauritania-France): Semaine de la critique.
Presented by The Film Foundation. Restored by Cineteca di Bologna at L'Immagine Ritrovata laboratory in collaboration with Med Hondo. Restoration funded by the George Lucas Family Foundation and The Film Foundation's World Cinema Project.

•1976: Babatu, les trois conseils by Jean Rouch (1h33, Nigeria-France): in Competition.
Pressented by the CNC, Inoussa Ousseini, the Comité du film ethnographique and the Fondation Jean Rouch. Digital restoration made from the 2K digitization of the 16mm negatives. Restoration carried out by L21.

1976: Ai no korîda (In the Realm of the Senses/L’Empire des sens) de Nagisa Oshima (1h43, France-Japan): Quinzaine des Réalisateurs.
Presented by Argos Films and TAMASA. Digization and 4K resoration from the original negative by Eclair. Sound restoration from the original magnetic sound by L.E. Diapason. The film will be released in French theaters.   

•1980: All that Jazz (Que le spectacle commence) by Bob Fosse (1979, 2h03, United States of America): Palme d’or ex-æquo.
Presented by Park Circus. 4K restoration by Twentieth Century Fox and the Academy Film Archive in collaboration with The Film Foundation. The restoration was produced from the original camera negative at Sony Colorworks in Culver City California.

•1981: Człowiek z żelaza (Man of Iron/L’Homme de fer) by Andrzej Wajda (2h33, Poland): Palme d’or. 
A presentation of the ZEBRA Film Studio (Studio Filmowe ZEBRA) with the collaboration of the Polish Film Institute. 2K film restoration from original colour 35 mm negative. Restored sound from original magnetic tape. Restoration lead by Daniel Pietrzyk, colour grading lead by Aleksandra Kraus, at Yakumama Film, Warsaw. Sound restoration lead by Tomasz Dukszta.
Artistic supervision by: Andrzej Wajda (director), Jerzy Łukaszewicz (DOP), Piotr Zawadzki (sound).

•1982: Yol – The Full Version (The Way/La Permission) by Yilmaz Güney, directed by Serif Gören (1h53, Switzerland): Palme d'or ex-æquo, Prix de la Critique Internationale - FIPRESCI
Presented by DFK FILMS LTD. Zürich. Restoration from the original 35mm negative, from the interpositive and the positive print. Restoration and new sound mix from the original digitized tapes. International Sales: The Match Factory.

•1983: Narayama Bushikō (Ballad of Narayama/La Ballade de Narayama) by Shôhei Imamura (2h13, Japan): Palme d’or.
Presented by Toei. 4K Scan, image restoration ARRISCAN and sound Golden Eye in 2K from the 35mm original negative, a duplicate and video tapes.

•1992: El sol del membrillo (Le Songe de la lumière) by Victor Erice (2h20, Spain): Prix du Jury ex-æquo, Prix de la Critique Internationale - FIPRESCI
Presented by the Filmoteca de Catalunya and Camm Cinco SL. 6K scan, restoration and color-grading from the 35mm negatives and other original video tapes. Digitazing and sound restoration from 35mm magnetic tapes. Technical support made by the Filmoteca de Catalunya, supervised by Victor Erice. Variations on the initial editing brought by the director.

•1951-1999: A short history of short films presented by the Festival de Cannes. A program curated by Christian Jeune and Jacques Kermabon.
Spiegel van Holland (Miroirs de Hollande) by Bert Haanstra (1951, 10mn, The Netherlands) / La Seine a rencontré Paris by Joris Ivens (1958, 32mn, France) / Pas de deux by Norman McLaren (1968, 13mn, Canada) / Harpya by Raoul Servais (1979, 9mn, Belgium) / Peel by Jane Campion (1986, 9mn, Australia) / L’Interview by Xavier Giannoli (1998, 15mn, France) / When the Day Breaks by Amanda Forbis and Wendy Tilby (1999, 10mn, Canada)

Other events, other restored prints, other guests

Madame de… by Max Ophüls (1953, 1h45, France)
A Gaumont restoration. A show to pay a tribute to Danielle Darrieux for her birthday and presented by Dominique Besnehard, Pierre Murat and Henri-Jean Servat who will screen the latest filmed interview of Danielle Darrieux.

• L’Atalante by Jean Vigo (1934, 1h28, France), restored 35mm print
Presented by Gaumont, la Cinémathèque française and The Film Foundation of Martin Scorsese. First digital restoration in 4k and conversion to a 35mm print. A new discovery of the closest version of the director’s work thanks to Gaumont, Luce Vigo and historian Bernard Eisenschitz. Restoration carried out at L’Image Retrouvée laboratory in Bologna and Paris.

• Native Son (Sang noir) by Pierre Chenal (1951, 1h47, Argentina)
A presentation by Argentina Sono Film. Restoration with the collaboration of the Library of Congress.

• Paparazzi by Jacques Rozier (1963, 18mn, France)
Presented by Jacques Rozier and la Cinémathèque française. 4K Digitization and 2K restoration works made from image and sound negatives at Hiventy laboratory, with the support of the CNC and in collaboration with Les Archives Audiovisuelles de Monaco, la Cinémathèque Suisse and Extérieur nuit.
The film will be introduced by Jacques Rozier.

• Belle de jour (Beauty of the Day) by Luis Buñuel (1967, 1h40, France)
Presented by STUDIOCANAL. Digitization from the original negative and 4K restoration carried out by Hiventy laboratory for STUDIOCANAL with the support of the CNC, of la Cinémathèque française, of the Fonds Culturel Franco-Américain and the Maison YVES SAINT LAURENT. French theater distribution: Carlotta. 

• A River Runs Through it (Et au milieu coule une rivière) by Robert Redford (1992, 2h04, United States of America)
Presented by Pathé. 4K Scan and 4K restoration from original image and sound 35mm negatives. Restoration carried out by Pathé at Technicolor France laboratory for the image in collaboration with Philippe Rousselot, cinematographer of the film, and L.E. Diapason for the sound restoration.

Lucía by Humberto Solas (1968, 2h40, Cuba)
A presentation of the Film Foundation. Restored by Cineteca di Bologna at L’Immagine Ritrovata laboratory in association with Instituto Cubano del Arte e Industria Cinematográficos (ICAIC). Restoration funded by Turner Classic Movies and The Film Foundation’s World Cinema Project.

Documentaries about Cinema

The history of cinema by cinema itself, a presentation of five documentaries

• La belge histoire du festival de Cannes (The Belgian's Road to Cannes) by Henri de Gerlache (2017, 1h02, Belgium)
Presented by Alizé Production. Produced by Alizé Production, co-produced by RTBF (Belgian television) & Proximus.
A joyful road movie to discover the Belgian cinema which has been at Cannes for 70 years. The filmmakers of yesterday are talking with those of today to paint a picture of a free and heterogeneous cinema. A "Belgian story" of the biggest festival in the world.

• David Stratton - A Cinematic Life by Sally Aitken (2017, 1h37, Australia)
Presented by Stranger Than Fiction Films. Produced by Stranger Than Fiction Films, with Screen Australia, ABC TV Arts, Screen NSW and Adelaide Film Festival.
An love adventure of film critic David Stratton with his adopted country, Australia, which led him to understand himself. It is also the glorious history of Australian cinema and its creators told by this Cannes-regular film-lover interested in the world.

• Filmworker by Tony Zierra (2017, 1h29, United States of America)
Presented and produced by True Studio Cinema.
Young actor Leon Vitali abandoned his prosperous career after Barry Lyndon to become the faithful right hand of director Stanley Kubrick. For more than two decades, Leon has played a crucial role behind the scenes by helping Kubrick. A complex and interdependent relationship between Leon and Kubrick based on devotion, sacrifice and the harsh and joyful reality of creative process.

• Becoming Cary Grant (Cary Grant - de l'autre côté du miroir) by Mark Kidel (2017, 1h25, France)
Presented by ARTE France and Showtime Documentary Films. Produced by YUZU Productions, coproduced by ARTE France, in association with ro*co films productions.
Cary Grant is one of the biggest Hollywood actors. In his fifties, he started a cure of  LSD to free himself from his demons. For the first time, with his words, he retraces his journey. The story of a man in search of himself and the love he did not find in his life. The words of Cary Grant are interpreted by Jonathan Pryce.

• Jean Douchet, l'enfant agité by Fabien Hagège, Guillaume Namur, Vincent Haasser (2017, 1h30, France)
Presented and produced by Carlotta and Kidam.
Three young cinephiles follow Jean Douchet, question his friends and former students. This documentary reveals the man and his critical philosophy, a part of the history of the Cahiers du Cinéma and this Art of loving to which he has devoted his existence.

April 13, 2017

2017 CANNES FILM FESTIVAL LINEUP

CANNES 70

For its 70th festival, Cannes breaks with its well-guarded tradition of opening the festival with a Hollywood movie. Festival regular Arnaud Desplechin takes that significant honor with “Ismael’s Ghosts,” about a filmmaker (played by Mathieu Amalric) whose life is upended when a lover from his past shows up as he’s about to start shooting his latest picture. Marion Cotillard, Charlotte Gainsbourg, and Louis Garrel also star.

Cannes16

Hollywood's absence at Cannes extends across the films in competition for the Palme d'Or, and across the entire festival. Hollywood has clearly lost its place on the premiere stage for Global Cinema. — R.I.P. Hollywood. Superhero Movies Killed The Motion Picture Star.

Cannes3

Conventional wisdom has it that Cannes traditionally skips a year as regards the quality of films shown every year. It is yet to be decided if this year’s selection will pale in comparison to last year’s imperfect lineup. Palme d'Or Competition films by Michael Haneke, Hong Sangsoo, François Ozon, Naomi Kawase, Todd Haynes, and Lynne Ramsay promise to give critics and jury judges some high-quality films to choose between.

French New Wave veteran Agnès Varda’s “Visages, Villages” is sure to be a hot ticket at a determinedly French festival that never forgets its own. Oh Cannes, how we adore you! 

CANNES 70 OFFICIAL SELECTION

OPENER

Ismael's ghosts

“Ismael’s Ghosts” (Arnaud Desplechin)

Canne25

COMPETITION

“120 Beats per Minute” (Robin Campillo)

“The Beguiled” (Sofia Coppola)

“The Day After” (Hong Sangsoo)

“A Gentle Creature” (Sergei Loznitsa)

“Good Time” (Benny Safdie & Josh Safdie) 

“Happy End” (Michael Haneke)

“In the Fade” (Fatih Akin)

“Jupiter’s Moon” (Kornél Mundruczó)

Killing of a Sacred Deer

“The Killing of a Sacred Deer” (Yorgos Lanthimos)

Lamant-double

“L’amant double” (François Ozon)

“Le redoubtable” (Michel Hazanvicius)

“Loveless” (Andrey Zvyagintsev)

“The Meyerowitz Stories” (Noah Baumbach)

“Okja” (Bong Joon-Ho)

“Radiance” (Naomi Kawase)

“Rodin” (Jacques Doillon)

“Wonderstruck” (Todd Haynes)

“You Were Never Really Here” (Lynne Ramsay) 

Cannes5

UN CERTAIN REGARD

“After the War” (Annarita Zambrano)

“April’s Daughter” (Michel Franco)

OPENER — “Barbara” (Mathieu Amalric)

“Beauty and the Dogs” (Kaouther Ben Hania)

“Before We Vanish” (Kiyoshi Kurosawa)

“Closeness” (Kantemir Balagov)

“The Desert Bride” (Cecilia Atan & Valeria Pivato)

“Directions” (Stephan Komandarev)

“Dregs” (Mohammad Rasoulof)

“Jeune femme” (Léonor Serraille)

“L’Atelier” (Laurent Cantet)

“Lucky” (Sergio Castellitto)

“The Nature of Time” (Karim Moussaoui)

“Out” (Gyorgy Kristof)

“Western” (Valeska Grisebach)

“Wind River” (Taylor Sheridan) 

Cannes4

OUT OF COMPETITION

BladeOfTheImmortal

“Blade of the Immortal” (Takashi Miike)

“How to Talk to Girls at Parties” (John Cameron Mitchell)

“Visages, Villages” (Agnès Varda & JR) 

Cannes20

MIDNIGHT SCREEENINGS

“Prayer Before Dawn” (Jean-Stéphane Sauvaire)

“The Merciless” (Byun Sung-Hyun)

“The Villainess” (Jung Byung-Gil)

Cannes10

SPECIAL SCREEENINGS

“12 Jours” (Raymond Depardon)

“An Inconvenient Sequel” (Bonni Cohen & Jon Shenk)

“Claire’s Camera” (Hong Sangsoo)

“Demons in Paradise” (Jude Ratman)

“Napalm” (Claude Lanzmann)

“Promised Land” (Eugene Jarecki)

Sea Sorrow

“Sea Sorrow” (Vanessa Redgrave)

“They” (Anahita Ghazvinizadeh)

70TH ANNIVERSARY EVENTS

“24 Frames” (Abbas Kiarostami)

“Come Swim” (Kristen Stewart)

“Top of the Lake” (Jane Campion)

“Twin Peaks” (David Lynch)

VIRTUAL REALITY

“Carne y arena” (Alejandro G. Iñárritu)

Carne y arena

March 29, 2017

CANNES 70 — POSTER

Cannes 70

September 10, 2016

 73ND VENICE FILM FESTIVAL OFFICIAL AWARDS

Venice_film_festival_poster

INTERNATIONAL COMPETITION

GOLDEN LION
“The Woman Who Left” (Lav Diaz — Philippines)

SILVER LION BEST DIRECTOR (TIE)
“Paradise” (Adam Konachalovsky — Russia, Germany)

“The Untamed”  (Amat Escalante — Mexico)

JURY GRAND PRIZE
“Nocturnal Animals” (Tom Ford, U.S.)

SPECIAL JURY PRIZE
The Bad Batch” (Ana Lily Amirpour, U.S.)

BEST ACTRESS
Emma Stone (“La La Land” — U.S.)

BEST ACTOR
Oscar Martinez (“The Distinguished Citizen" — Argentina, Spain)

MARCELLO MASTROIANNI PRIZE FOR YOUNG PERFORMER
Paula Beer (“Frantz” — France)

BEST SCREENPLAY
Noah Oppenheim  (“Jackie” — U.S.)

LUIGI DE LAURENTIIS LION OF THE FUTURE
“The Last of Us” (Ala Eddine Slim — Tunisia)

HORIZONS JURY

BEST DIRECTOR
Fien Troch — Belgium  (“Home")

SPECIAL JURY PRIZE
“Big Big World” (Reha Erdam — Turkey)

SPECIAL PRIZE FOR BEST ACTOR
Nuno Lopes ("Sao Jorge") by Marco Martins (Portugal)

SPECIAL PRIZE FOR BEST ACTRESS
Ruth Diaz ("The Fury of the Patient Man") by Raul Arevalo — Spain

BEST SCREENPLAY
“Bitter Money” (by Wang Bing — China)

BEST SHORT
“La Voz Perdida” (Marcelo Mantinessi — Paraguay)

VENICE CLASSICS AWARDS

BEST DOCUMENTARY ON CINEMA
“Le Councours” (Claire Simon — Paraguay)

BEST RESTORED FILM
“Break-Up — L'uomo dei cinque palloni” (Marco Ferreri, Italy)

 

August 29, 2016

NYFF 54: SPOTLIGHT ON DOCUMENTARY LINE-UP

NYFF54

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES THE COMPLETE LINEUP FOR THE SPOTLIGHT ON DOCUMENTARY SECTION OF THE 54th NEW YORK FILM FESTIVAL

 

Includes new works by Errol Morris and Steve James; films starring Carrie Fisher & Debbie Reynolds, ballerina Wendy Whelan, and jazz singer Lee Morgan; revelatory stories from Egypt, Cuba, and Israel; and more.

 

New York, NY (August 24, 2016) – The Film Society of Lincoln Center announces the complete lineup for the Spotlight on Documentary section of the 54th New York Film Festival (September 30-October 16). This year’s series of dispatches from the front lines of nonfiction cinema features intimate portraits of artists, firsthand experiences of political upheaval, and much more.

Selections include three documentaries highlighting fascinating performing arts figures: the fearless and often hilarious mother-daughter acting duo Carrie Fisher and Debbie Reynolds in Alexis Bloom & Fisher Stevens’s Bright Lights: Starring Carrie Fisher and Debbie Reynolds; Wendy Whelan: Restless Creature, which follows the former New York City Ballet prima ballerina as she faces the limitations of her own body; and I Called Him Morgan, an affecting look at the brilliant jazz trumpeter Lee Morgan and the tragically toxic relationship that ended his life.

Returning NYFF filmmakers include Steve James, whose Abacus: Small Enough to Jail concerns the only bank prosecuted after the 2008 financial crisis, and Errol Morris, whose The B-Side: Elsa Dorfman’s Portrait Photography is an intimate look at his longtime friend’s 50-plus years as a photographer working in rare large-format 20x24 Polaroid.

Many of the selections in the Spotlight on Documentary section this year challenge historical and political oppression in unique and personal ways, including: Whose Country?, which follows a brave Egyptian policeman whose perspective on his country’s turmoil becomes our own; the vivid Patria O Muerte: Cuba, Fatherland or Death, a look at the current state of Cuba through the eyes of a handful of its citizens; Shimon Dotan’s The Settlers, a disturbing profile of Israelis living in the West Bank; Mahamat-Saleh Haroun’s Hissen Habré, A Chadian Tragedy, which focuses on the victims and survivors of the recently convicted despot; and Raoul Peck’s film essay I Am Not Your Negro, a bracing examination of race in America based on and highlighted by the profound words of James Baldwin’s final, unfinished manuscript. 

Two selections focus on the personal connection between filmmaker and subject. In Uncle Howard, Aaron Brookner’s intimate and loving survey of the personal archival footage of his uncle, filmmaker Howard Brookner (whose Burroughs was screened at last year’s NYFF), reveals the vibrant life in New York in the 1970s and 1980s. Karl Marx City, from Petra Epperlein and Michael Tucker, looks back at Epperlein’s East German childhood, and the possibility that her father was a Stasi government informer.

Also featured in the lineup are: The North American premiere of Bill Morrison’s haunting look at the town that became the epicenter of the Yukon gold rush, Dawson City: Frozen Time, made with long-forgotten archival footage; Sam Pollard’s musically and historically rich Two Trains Runnin’, about parallel quests, one musical and one political, that both end in Mississippi during the “Freedom Summer” of 1964; and Shirley Abraham and Amit Madheshiya’s The Cinema Travellers, in its U.S. premiere, which follows a pair of itinerant projectionists who bring film to rural Central Eastern India.

Press images can be found here.

The 17-day New York Film Festival highlights the best in world cinema, featuring works from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Jones, also includes Dennis Lim, FSLC Director of Programming; Florence Almozini, FSLC Associate Director of Programming; Amy Taubin, Contributing Editor, Artforum and Film Comment; and Gavin Smith, who serves as a consultant.

NYFF previously announced the world premieres of Ava DuVernay’s documentary The 13th as the Opening Night selection, Mike Mills’s 20th Century Women as Centerpiece, and James Gray’s The Lost City of Z as Closing Night. The complete Main Slate lineup can be found here, along with the complete programs for Convergence, Projections, Revivals, and Retrospective.

Tickets for the 54th New York Film Festival will go on sale September 11. To learn more about NYFF tickets, including a complete list of on-sale dates, prices, discount options, and our rush and standby policies, click here.

For even more access, VIP passes and subscription packages offer one of the earliest opportunities to purchase tickets and secure seats at some of the festival's biggest events including Opening, Centerpiece, and Closing Nights. VIP passes also provide access to many exciting events, including the invitation-only Opening Night party, “An Evening With…” dinner, Filmmaker Brunch, and VIP Lounge. Benefits vary based on the pass or package type purchased. VIP passes and subscription packages are on sale now. Learn more at filmlinc.org/NYFF.

FILMS & DESCRIPTIONS

Abacus: Small Enough to Jail
Directed by Steve James
USA, 2016, DCP, 88m
In English, Mandarin, and Cantonese with English subtitles
Quick: what was the only bank that was actually prosecuted in the wake of the 2008 financial crisis? The astonishing but correct answer is Abacus Federal Savings of Chinatown, founded in 1984 by Thomas Sung, which specializes in small loans to members of the Chinese-American community. The latest film from Steve James (Hoop Dreams, Life Itself) is a vivid chronicle of the legal battle mounted by Sung and his formidable daughters when the Manhattan DA’s office charged the bank with systemic fraud, larceny, and conspiracy. Abacus is a moving portrait of a family, a community, and a way of life; it is also a cautionary tale.
Thursday, Oct 6, 8:45pm (WRT)
Thursday, Oct 7, 6:15pm (BWA)

The B-Side: Elsa Dorfman’s Portrait Photography
Directed by Errol Morris
USA, 2016, DCP, 76m
Errol Morris’s surprising new film is simplicity itself: a visit to the Cambridge, Massachusetts studio of his friend, the 20x24 Polaroid portrait photographer Elsa Dorfman, who specifies on her website that she likes her subjects “to wear clothes (and to bring toys, skis, books, tennis racquets, musical instruments, and particularly pets…).” As this charming, articulate, and calmly uncompromising woman takes us through her fifty-plus years of remarkable but fragile images of paying customers, commissioned subjects, family, and close friends (including the poet Allen Ginsberg), the sense of time passing grows more and more acute. This is a masterful film.
Sunday, Oct 9, 6pm (WRT)
Monday, Oct 10, 9:15pm (BWA)

Bright Lights: Starring Carrie Fisher and Debbie Reynolds
Directed by Alexis Bloom & Fisher Stevens
USA, 2016, DCP, 96m
Carrie Fisher and her mom Debbie Reynolds are now the best of friends (they live steps away from each other in their Beverly Hills compound) and the very definition of Hollywood royalty. But unlike today’s newly minted celebrities, they are both open books. After six decades of screen and stage stardom; a couple of disastrous marriages and assorted financial ups and downs for Reynolds; and, for Fisher, well-publicized drug addiction, bipolar disorder, and deity status (see: Star Wars), neither has anything left to hide. Bright Lights is an affectionate, often hilarious, and unexpectedly moving valentine to the mother-daughter act to end all mother-daughter acts. An HBO Documentary Films release.
Monday, Oct 10, 6pm (ATH)
Tuesday, Oct 11, 9:15pm (BWA)

The Cinema Travellers
Directed by Shirley Abraham & Amit Madheshiya
India, 2016, DCP, 96m
In Hindi and Marathi with English subtitles
Mohammed and Bapu are itinerant film showmen who travel through the Western Indian state of Maharashtra and show 35mmfilm prints on makeshift screens at village fairs. All the while, they struggle with both the growing possibility of obsolescence and the increasing fragility of their enormous rusty, clanking projectors, kept in barely working order by a repairman named Prakash (who has a beautiful invention: an “oil bath” projector). This colorful, five-years-in-the-making documentary is a real Last Picture Show, but its melancholy is leavened with joy and delight, and the wonder of still images coming to life at 24 frames per second. US Premiere
Wednesday, Oct 12, 9pm (FBT)
Thursday, Oct 13, 6:30pm (HGT)

Dawson City: Frozen Time
Directed by Bill Morrison
USA, 2016, DCP, 120m
Bill Morrison’s new film is a history in still and moving images charting the transformation of Tr’ondëk Hwëch’in, a fishing camp at the confluence of the Yukon and Klondike Rivers, into the epicenter of the Yukon gold rush at the turn of the last century. It is also a history of the 35mm film prints that were shipped to Dawson between the 1910s and 1920s, then hidden away and forgotten for 50 years until they were unearthed in the initial stages of a construction project, images from which are a key element in Morrison’s cinematic mosaic. Like all of Morrison’s work, Dawson City is a haunting experience that takes place in suspended, nonlinear time. North American Premiere
Sunday, Oct 2, 12pm (BWA)
Tuesday, Oct 4, 9pm (FBT)
   
Hissen Habré, A Chadian Tragedy
Directed by Mahamat-Saleh Haroun
France/Chad, 2016, DCP, 82m
In French, Chadian and Arabic with English subtitles
Mahamat-Saleh Haroun’s quiet, stately documentary begins with a personal sketch of the tragic history of his Central African home country, starting in the mid-1970s with the emergence of a romantic revolutionary figure named Hissen Habré, who seized power in 1982 and established a regime that became renowned throughout the world for its human rights abuses. From there, Haroun follows Clément Abaïfouta, a survivor of the regime who introduces us to resilient men and women whose memories and experiences are beyond horror. Two weeks after this film premiered at Cannes, Hissen Habré became the first world leader convicted of crimes against humanity by a court outside of his own country.
Tuesday, Oct 4, 6pm (WRT)
Wednesday, Oct 5, 9pm (FBT)

I Am Not Your Negro
Directed by Raoul Peck
USA/France/Belgium/Switzerland, 2016, DCP, 93m
Haitian filmmaker Raoul Peck has taken the 30 completed pages of James Baldwin’s final, unfinished manuscript, Remember This House, in which the author went about the painful task of remembering his three fallen friends Medgar Evers, Malcolm X, and Martin Luther King, and crafted an elegantly precise and bracing film essay. Peck’s film, about the unholy agglomeration of myths, institutionalized practices both legal and illegal, and displaced white terror that have long perpetuated the tragic state of race in America, is anchored by the presence of Baldwin himself in images and words, read beautifully by Samuel L. Jackson in hushed, burning tones.
Saturday, Oct 1, 4:15pm (WRT)
Sunday, Oct 2, 9pm (FBT)

I Called Him Morgan
Directed by Kasper Collin
Sweden, 2016, DCP, 89m
On the night of February 19, 1972, Helen Morgan walked into the East Village bar Slug’s Saloon with a gun in her handbag. She came to see her common-law husband, the great jazz trumpeter Lee Morgan, whom she had nursed through heroin addiction. They fought, he literally threw her out; then she walked back in and shot him, handed over her gun and waited for the police to arrive. Many years later, Helen was interviewed about her life with the brilliant but erratic musician, and the tapes of that interview are the backbone of this beautifully crafted and deeply affecting film from Kasper Collin (My Name Is Albert Ayler).
Sunday, Oct 2, 6pm (WRT)
Monday, Oct 3, 8:45pm (FBT)

Karl Marx City
Directed by Petra Epperlein & Michael Tucker
USA/Germany, 2016, DCP, 89m
In English and German with English subtitles
Having completed their series of Iraq War–era films (starting with Gunner Palace in 2004 and concluding with 2009’s How to Fold a Flag), the filmmaking team of Petra Epperlein and Michael Tucker turn their attention to the former East Germany of Epperlein’s childhood, and specifically to the possibility that her father might have been one of the many thousands of citizens recruited as informers by the Stasi. Tucker and Epperlein make some bold stylistic choices (such as shooting in crystalline black and white), all of which pay off: the strange state of living under constant surveillance is both recalled and embodied in this uniquely powerful film.
Friday, Oct 14, 8:30pm (WRT)
Saturday, Oct 15, 12:30pm (FBT)

Patria O Muerte: Cuba, Fatherland or Death
Directed by Olatz López Garmendia
Cuba/USA, 2016, DCP, 57m
In English and Spanish with English subtitles
Olatz López Garmendia’s film is a sharp, vivid portrait of Cuba as it is right now, on the verge of change, seen through the eyes of a diverse group of brave individuals. On the one hand, we experience the corroded beauty of a landscape largely free of the commercially driven zoning and building that has befouled so much of the western world; on the other, we see the crumbling infrastructure, falling buildings, and desperate circumstances of a nation that’s been economically stalled by a longtime United States embargo and stubborn and repressive dictatorship. Most of all, Patria O Muerte: Cuba, Fatherland or Death is about people struggling to live freely. An HBO Documentary Films release.
Wednesday, Oct 12, 9:15pm (BWA)
Thursday, Oct 13, 6:45pm (FBT)

The Settlers
Directed by Shimon Dotan
France/Canada/Israel, 2016, DCP, 110m
Shimon Dotan’s film takes a good, hard look at the world of the Israeli settlers on the West Bank: the way they live, the worldview that many of them share, and, most crucially, the relaxed attitude of the Israeli government toward their presence since the first settlements in the aftermath of the Six-Day War. Dotan lays out the facts with extraordinary care and lucidity, and allows us to see the progression of actions and reactions that led to the current volatile situation, one small step at a time. Perhaps the greatest astonishment of this generally astonishing film is the casual zealotry and racism, and the apparently untroubled certainty, of many of the settlers themselves.
Thursday, Oct 6, 6pm (WRT)
Friday, Oct 7, 9pm (HGT)

Two Trains Runnin’
Directed by Sam Pollard
USA, 2016, DCP, 80m
In the “Freedom Summer” of 1964, hundreds of young people—including James Chaney, Andrew Goodman, and Michael Schwerner—were drawn to the deep South to take part in the Civil Rights movement. At the same moment, two groups of young men (including guitarist John Fahey and Dick Waterman, the great champion of the Blues) made the same trip in search of Blues legends Skip James and Son House. That these two quests coincidentally ended in the volatile state of Mississippi, whose governor famously referred to integration as “genocide,” is the starting point for Sam Pollard’s inventive, musically and historically rich film.
Thursday, Oct 13, 8:45pm (WRT)
Friday, Oct 14, 9:30pm (FBT)

Uncle Howard
Directed by Aaron Brookner
USA, 2016, DCP, 96m
While Aaron Brookner was working on the restoration of Burroughs: The Movie, his uncle Howard Brookner’s 1983 documentary about William S. Burroughs, he discovered an archive that Howard left uncatalogued. It encompassed unused footage, and much more: film and video diaries capturing the downtown New York, post-Beat mosaic of writers, filmmakers, performers, and artists in the 1970s and 1980s and the devastation of that community by AIDS, which took Howard’s life in 1989. A work of love and scholarship, Uncle Howard weaves contemporary interviews with this rediscovered footage: of the legendary “Nova Convention”; Robert Wilson rehearsing the aborted L.A. production of The Civil Wars; a twentysomething Jim Jarmusch, Howard’s NYU classmate, recording sound on Burroughs; and Howard’s lyrical video self-portrait, made near the end of his life.
Sunday, Oct 9, 5:30pm (BWA)
Monday, Oct 10, 9pm (FBT)

Wendy Whelan: Restless Creature
Directed by Linda Saffire & Adam Schlesinger
USA, 2016, DCP, 90m
In 1984, Wendy Whelan joined the New York City Ballet as an apprentice; by 1991, she had been promoted to Principal Dancer. She quickly became a revered and beloved figure throughout the dance world. Wrote Roslyn Sulcas, “her sinewy physicality, her kinetic clarity, and her dramatic, otherworldly intensity have created a quite distinct and unusual identity.” Linda Saffire and Adam Schlesinger’s film follows this extraordinary artist throughout a passage of life that all dancers must face, when she must confront the limitations of her own body and adapt to a different relationship with the art form she loves so madly.
Sunday, Oct 9, 3:30pm (WRT)
Monday, Oct 10, 6:15pm (BWA)

Whose Country?
Directed by Mohamed Siam
Egypt/USA/France, 2016, DCP, 60m
A remarkable, one-of-a-kind film from Egypt, Whose Country? has a point of view that grows in complexity as it proceeds, alongside the shifting fortunes and affiliations of the Cairo policeman who is the film’s subject and guide. By his side, we witness the fall of Mubarak, the rise and fall of Morsi and the Muslim Brotherhood, and the rise of Abdel Fattah el-Sisi. The level of craft in this film is extraordinary, and so is the close attentiveness that the director pays to his difficult task: illuminating the compromised lives of the protagonist and his friends and the convulsive nation they call home.
Saturday, Oct 1, 9:30pm (WRT)
Sunday, Oct 2, 6:45pm (FBT)

FILM SOCIETY OF LINCOLN CENTER
The Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema. The only branch of the world-renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film. Via year-round programming and discussions; its annual New York Film Festival; and its publications, including Film Comment, the U.S.’s premier magazine about films and film culture, the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as well as to ensure that it will remain an essential art form for years to come.

The Film Society receives generous, year-round support from American Airlines, The New York Times, HBO, The Kobal Collection, Variety, Loews Regency Hotel, Row NYC Hotel, the National Endowment for the Arts, and the New York State Council on the Arts.

Support for the New York Film Festival is also generously provided by Jaeger-LeCoultre, the Mayor's Office of Media and Entertainment, and the New York Public Library for the Performing Arts.

For more information about the New York Film Festival, visit filmlinc.org/NYFF. For the latest news, subscribe to the festival’s newsletter, follow the festival on Facebook and Twitter, and use the hashtag: #NYFF.

August 23, 2016

NYFF 54 SPECIAL GUESTS OF HONOR

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES SPECIAL EVENTS AND “AN EVENING WITH…” GUESTS OF HONOR FOR 54th NEW YORK FILM FESTIVAL

Special Events include Jim Jarmusch’s Gimme Danger, the World Premiere of Alex Horwitz’s Hamilton’s America, Film Comment Presents Terence Davies’s A Quiet Passion, Lonny Price’s Best Worst Thing That Ever Could Have Happened, plus special guests Jarmusch, Davies, Iggy Pop, Cynthia Nixon, Stephen Sondheim, and more

NYFF54

Kristen Stewart and Adam Driver are this year’s
“An Evening with…” honorees

New York, NY (August 23, 2016) – The Film Society of Lincoln Center announces the Special Events section and “An Evening with…” honorees for the 54th New York Film Festival.

Special Events will feature the world premiere of Lonny Price’s Best Worst Thing That Ever Could Have Happened, a nonfiction account of Stephen Sondheim and Harold Prince’s 1981 musical-flop-turned-cult-favorite Merrily We Roll Along, with Price and theater luminary Sondheim in person. Thirty-five years later in the world of musicals, Hamilton is a Broadway sensation. Alex Horwitz’s Hamilton’s America goes behind the history of Lin-Manuel Miranda’s Tony- and Pulitzer Prize–winning production,Hamilton: An American Musical, and makes its world premiere at NYFF with the director and special guests to be announced. The Film Society will do outreach to young audiences for the screening, which debuts in advance of its PBS Great Performancesbroadcast on October 21. Festival veteran Jim Jarmusch brings a second film to NYFF (in addition to Main Slate selectionPaterson) with the U.S. premiere of Gimme Danger, a documentary chronicling the history of legendary proto-punk band The Stooges. Jarmusch and Stooges front man Iggy Pop will appear in person for the screening.

The fourth annual Film Comment Presents selection is Terence Davies’s A Quiet Passion, starring Cynthia Nixon as celebrated American poet Emily Dickinson. In previous years, Film Comment has championed films such as Steve McQueen’s 12 Years a Slave and László Nemes’s Son of Saul, and Davies’s anticipated new work comes on the heels of his breathtaking Sunset Song, which opened the annual Film Comment Selects festival earlier this year. The magazine will have an expanded presence at this year’s festival with two special panels: a roundtable discussion with festival filmmakers about their experiences as movie lovers and creators, and an in-depth look at the September-October issue with the magazine’s editors and contributors, examining the state of cinema today.

The annual “An Evening with…” events recognize the work of individuals who have made significant artistic contributions to film culture, and this year’s honorees are Kristen Stewart and Adam Driver, two of the brightest young actors working today. Driver gives a remarkable performance in Jim Jarmusch’s Paterson, and Stewart shines in three New York Film Festival titles: Kelly Reichardt’s Certain Women, Olivier Assayas’s Personal Shopper, and Ang Lee’s Billy Lynn’s Long Halftime Walk, previously announced as a special World Premiere presentation in the Special Events section. Each of the evenings will include dinner and an intimate conversation between the award-winning actors and NYFF Director Kent Jones, and will serve as a benefit for the Film Society.

NYFF previously announced the world premieres of Ava DuVernay’s documentary The 13th as the Opening Night selection, Mike Mills’s 20th Century Women as Centerpiece, and James Gray’s The Lost City of Z as Closing Night. The complete Main Slate lineup can be found here, along with the complete programs for Convergence, Projections, Revivals, and Retrospective.

Tickets for the 54th New York Film Festival will go on sale September 11. To learn more about NYFF tickets, including a complete list of on-sale dates, prices, discount options, and our rush and standby policies, click here.

For even more access, VIP passes and subscription packages offer the earliest opportunities to purchase tickets and secure seats at some of the festival's biggest events including Opening and Closing Nights, and Centerpiece. VIP passes also provide access to many exciting events, including the invitation-only Opening Night party, “An Evening With…” dinner, Filmmaker Brunch, and VIP Lounge. Benefits vary based on the pass or package type purchased. VIP passes and subscription packages are on sale now. Learn more at filmlinc.org/NYFF.

FILMS & DESCRIPTIONS

Best Worst Thing That Ever Could Have Happened
Directed by Lonny Price
USA, DCP, 95m
World Premiere
In 1981, Stephen Sondheim and Harold Prince embarked on Merrily We Roll Along, a musical based on the 1934 George S. Kaufman and Moss Hart comedy told in reverse: the characters begin as disillusioned adults and end as starry-eyed adolescents. Though the original, much-ballyhooed production, which featured a cast of teenage unknowns, was panned by the critics and closed after just 16 performances, Merrily We Roll Along would go on to attain musical theater legend status. This alternately heartbreaking and euphoric film by original cast member Lonny Price features never-before seen footage of Prince and Sondheim at work on the show and revisits many of Price’s fellow actors, all of them united by this once-in-a-lifetime experience. Stephen Sondheim, Lonny Price, and other special guests to appear in person.

Billy Lynn’s Long Halftime Walk
Directed by Ang Lee
USA, 2016, DCP, 110m
World Premiere
Ang Lee’s stunning adaptation of Ben Fountain’s novel is the story of an Iraq war hero (newcomer Joe Alwyn) who comes home with his fellow members of Bravo Company for a victory tour. This culminates in a halftime show at a Thanksgiving Day football game—a high-intensity media extravaganza summoning memories of the trauma of losing his beloved sergeant in a firefight. Lee’s brave, heartbreaking film goes right to the heart of a great division that haunts this country: between the ideal image of things as they should be and the ongoing reality of things as they are. Billy Lynn is also a step forward in the art of cinema, made with a cinematographic process years ahead of its time. With a brilliant supporting cast, including Kristen Stewart, Chris Tucker, Garrett Hedlund, with Vin Diesel and Steve Martin. A TriStar Pictures release.

Gimme Danger
Directed by Jim Jarmusch
USA, 2016, DCP, 108m
U.S. Premiere
“Music is life and life is not a business,” said Iggy Pop when he and his surviving bandmates from The Stooges were inducted into the Rock and Roll Hall of Fame in 2010. Jim Jarmusch’s cinematic offering to the punk gods of Ann Arbor traces the always raucous and frequently calamitous history of the Stooges from inception to the present. With the help of animator James Kerr, plus glimpses of Lucille Ball and a shirtless Yul Brynner amidst a bonanza of archival performance footage, photos, and interviews,Gimme Danger has the feeling of a night at Max’s Kansas City. An Amazon Studios and Magnolia Pictures release. Iggy Pop and Jim Jarmusch to appear in person.

Hamilton’s America
Directed by Alex Horwitz
USA, 2016, DCP, 84m
World Premiere
Lin-Manuel Miranda takes us inside the making of his groundbreaking American musical Hamilton, winner of eleven Tonys, as well as the Pulitzer Prize and a Grammy Award. We follow Miranda, his collaborators, and key members of the original cast on their exploration of the history that inspired the show, visiting locations from Valley Forge to the West Wing. We also track the show's journey, from the moment Miranda thrilled the Obamas at the White House in 2009 to the first year of its blockbuster run on Broadway. A PBS Great Performances documentary. Horwitz and special guests to appear in person.

FILM COMMENT AT NYFF EVENTS

Film Comment Presents:
A Quiet Passion
Directed by Terence Davies
U.K./Belgium, 2016, DCP, 125m
Swiftly following his glorious Sunset Song, the great British director Terence Davies turns his attention to 19th-century American poet Emily Dickinson and ends up with perhaps an even greater triumph. A revelatory Cynthia Nixon embodies Dickinson with a titanic intelligence always threatening to burst forth from behind a polite facade, while Davies creates a formally audacious rendering of her life, from teenage skepticism to lonely death, using her poems (and a touch of Charles Ives) as soundtrack accompaniment. Both sides of Davies’s enormous talent—his witty, Wildean sense of humor and his frightening vision of life’s grim realities—are on full display in this consuming depiction of a creative inner world. Terence Davies and Cynthia Nixon to appear in person.

Film Comment Live: Living Cinema
For its September-October 2016 edition, Film Comment, the most important and renowned critical film magazine in the U.S. for more than 50 years, will come out of the gate with an issue devoted to the vitality of movies today, as well as an elaborate special section on films featured in the 54th New York Film Festival. For this panel a selection of the magazine’s editors, new contributors, and longtime writers will join to discuss issues raised and questions asked in its pages.

Film Comment Live: Filmmakers Chat
In this special roundtable discussion, a selection of different directors from around the world whose films are screening in this year’s New York Film Festival talk together in a discussion moderated by Film Comment editor Nicolas Rapold. It’s the rare chance to see some of today’s most important filmmakers in dialogue with each other, talking about their experiences watching and creating movies.

TWO SPECIAL “An Evening with . . .” CELEBRATIONS
The New York Film Festival tradition known as “An Evening with...” is a limited-seating event that includes an intimate dinner and conversation between an important star of the film world and NYFF Director Kent Jones. Past honorees include Pedro Almodóvar, Cate Blanchett, Ralph Fiennes, Nicole Kidman, Kate Winslet, and more. We’re pleased to announce that this year we are offering two of these special nights, featuring two of the brightest young actors working today.

An Evening with Adam Driver
With his mainstream breakout in last year’s Star Wars: The Force Awakens, Adam Driver has become a bona fide megastar. But those who have been following him for years, both in his Emmy-nominated role in the HBO series Girls, and in such past NYFF films as Frances Ha and Inside Llewyn Davis, have already been smitten with his artistic style. This year, festival audiences can see his wonderful leading performance in Jim Jarmusch’s exquisite Paterson, as a poetry-writing New Jersey bus driver.
Sunday, October 2

An Evening with Kristen Stewart
For the past few years, Kristen Stewart has been quietly amassing an impressive body of work, starring in enigmatic roles in complex films, including the NYFF52 selection Clouds of Sils Maria, directed by Olivier Assayas, for which she became the first American actor to win the French César award. This year feels like a culmination of this extraordinary phase of her career: she starred in five movies in 2016, the best of which are featured at NYFF: Assayas’s Personal Shopper, in which she appears in nearly every shot; Kelly Reichardt’s Certain Women; and Ang Lee’s Billy Lynn’s Long Halftime Walk. All three films speak to an actor constantly willing to challenge herself and her fans.
Wednesday, October 5

FILM SOCIETY OF LINCOLN CENTER
The Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema. The only branch of the world-renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film. Via year-round programming and discussions; its annual New York Film Festival; and its publications, including Film Comment, the U.S.’s premier magazine about films and film culture, the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as well as to ensure that it will remain an essential art form for years to come.

The Film Society receives generous, year-round support from American Airlines, The New York Times, HBO, The Kobal Collection, Variety, Loews Regency Hotel, Row NYC Hotel, the National Endowment for the Arts, and the New York State Council on the Arts.

Support for the New York Film Festival is also generously provided by Jaeger-LeCoultre, the Mayor's Office of Media and Entertainment, and the New York Public Library for the Performing Arts.

For more information about the New York Film Festival, visit filmlinc.org/NYFF. For the latest news, subscribe to the festival’s newsletter, follow the festival on Facebook and Twitter, and use the hashtag: #NYFF.

August 20, 2016

NYFF 54 RETROSPECTIVE LINE-UP

NYFF54

 

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES ITS RETROSPECTIVE SECTION AT THE 54th NEW YORK FILM FESTIVAL

 

Bertrand Tavernier’s epic new documentary My Journey Through French Cinema inspires a two-part series, featuring a selection of French classics & 12 works by Hollywood director Henry Hathaway

 

New York, NY (August 19, 2016) – The Film Society of Lincoln Center announces the Retrospective section of the 54th New York Film Festival (September 30 – October 16), a two-part lineup headlined and inspired by Bertrand Tavernier’s magnificent epic documentary My Journey Through French Cinema: in addition to that film, NYFF will screen a selection of French classics featured in the documentary and a 12-film exploration of one of Tavernier’s favorite American directors, Henry Hathaway.

Tavernier is truly one of the grand old men of the movies: his experience is vast, his knowledge is voluminous, and his love is inexhaustible. Tavernier knows his native cinema inside and out, from the giants to now overlooked and forgotten figures, and in My Journey Through French Cinema, which will be released early next year by Cohen Media Group, his observations and reminiscences are never less than penetrating and always deeply personal.

The 2016 NYFF Retrospective complements screenings of Tavernier’s documentary with five rarely-screened titles featured within it: Jean Renoir’s glorious revolutionary epic La Marseillaise; Robert Bresson’s first film,Angels of Sin; Jacques Becker’s post–World War II comedy Antoine and Antoinette; Julien Duvivier’s final collaboration with Jean Gabin, Deadlier Than the Male; Jean-Pierre Melville’s Cocteau adaptation Les enfants terribles; as well as Tavernier’s own 2002 film about Occupation-era filmmaking, Safe Conduct.

Additionally, in line with Tavernier’s passionate devotion to American cinema throughout his career, the Retrospective section will feature a selection of films by a director he has always greatly admired and championed, Henry Hathaway. Born near the turn of the last century, Hathaway started during the silent era as an assistant to directors like Josef von Sternberg and Victor Fleming, and he directed the first of his 52 films at the dawn of the sound era. He developed into one of Hollywood’s greatest craftsmen and most respected artists, taking on every genre from western to film noir, adventure stories to rural melodramas; pioneering the docudrama and the practice of shooting on location; creating technically complex visual effects that are still surprising; and building one of the most satisfying bodies of work in American movies, from the celebrated Kiss of Death and Niagara, starring Marilyn Monroe, to the relatively unsung From Hell to Texasand Down to the Sea in Ships (all of which are screening in the series).

The Film Society of Lincoln Center would like to thank Jim Gianopulos and Schawn Belston from Fox, and Paul Ginsburg at NBC-Universal.

The 17-day New York Film Festival highlights the best in world cinema, featuring works from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Jones, also includes Dennis Lim, FSLC Director of Programming; Florence Almozini, FSLC Associate Director of Programming; Amy Taubin, Contributing Editor, Artforum and Film Comment; and Gavin Smith, who serves as a consultant.

NYFF previously announced Ava DuVernay’s documentary The 13th as the Opening Night selection, Mike Mills’s 20th Century Women as Centerpiece, and James Gray’s The Lost City of Z as Closing Night. The complete Main Slate lineup can be found here, along with the complete programs for Convergence, Revivals, and Projections.

Tickets for the 54th New York Film Festival will go on sale September 11. Becoming a Film Society Member at the Film Buff Level or above provides early ticket access to festival screenings and events ahead of the general public, along with the exclusive member ticket discount. Learn more at filmlinc.org/membership.

For even more access, VIP passes and subscription packages offer the earliest opportunities to purchase tickets and secure seats at some of the festival's biggest events including Opening and Closing Nights, and Centerpiece. VIP passes also provide access to many exciting events, including the invitation-only Opening Night party, “An Evening With…” dinner, Filmmaker Brunch, and VIP Lounge. Benefits vary based on the pass or package type purchased. VIP passes and subscription packages are on sale now. Learn more at filmlinc.org/NYFF.

FILMS & DESCRIPTIONS

A Brief Journey Through French Cinema

My Journey Through French Cinema
Directed by Bertrand Tavernier

France, 2016, 190m
Bertrand Tavernier is truly one of the grand old men of the movies. His experience is vast, his knowledge is voluminous, his love is inexhaustible, and his perspective is matched only by that of Martin Scorsese. This magnificent epic history has been a lifetime in the making. Tavernier knows his native cinema inside and out, from the giants like Renoir, Godard, and Melville (for whom he worked as an assistant) to now overlooked and forgotten figures like Edmund T. Gréville and Guy Gilles, and his observations and reminiscences are never less than penetrating and always deeply personal. A Cohen Media Group release.

Angels of Sin / Les anges du péché
Directed by Robert Bresson
France, 1943, 96m, French with English subtitles
Robert Bresson’s first feature, made during the occupation, was this melodrama about a nun (Renée Faure) from a wealthy background who zeroes in on the distressed condition of a poor young female prisoner (Jany Holt) who has been sent to the convent for rehabilitation. Les anges du péché, co-written by Bresson with the French dramatist Jean Giraudoux and the Dominican priest and author Raymond Léopold Bruckberger, is an emotionally overpowering experience. If we don’t quite recognize the Bresson we would come to know, this is also a formidable debut from a filmmaker who, in David Bordwell’s words, had “proven his virtuosity” and, in the process, created what Jacques Becker recognized as “a whole new style.” A Janus Films release.

Antoine and Antoinette / Antoine et Antoinette
Directed by Jacques Becker
France, 1947, 84m, French with English subtitles
This postwar comedy about a young Parisian couple (Roger Pigaut and Claire Mafféi) who buy and lose a winning lottery ticket sings with the energies of working-class life. Antoine et Antoinette is temperamentally close to the great American pre-Code films of the early 30s, but it is made with a verve and grace that could only originate with one individual sensibility. To quote Godard on the occasion of Jacques Becker’s death at the age of 53: “There are several good ways of making French films. Italian style, like Renoir. Viennese, like Ophuls. New Yorker, like Melville. But only Becker was and is as French as France.” A Rialto Pictures release.

Deadlier Than the Male / Voici le temps des assassins
Directed by Julien Duvivier
France, 1956, 113m, French with English subtitles
Julien Duvivier’s final collaboration with Jean Gabin is the gut-wrenching and ultimately tragic story of a Parisian restaurant owner who one day finds a young woman (Danièle Delorme) claiming to be the daughter of his ex-wife on his doorstep. Deadlier Than the Male, whose original French title is a quote from Rimbaud’s “Illuminations,” is, like all the best Duvivier films, beautifully crafted and visualized (Truffaut reckoned that it was his very best), with excellent location shooting in Les Halles. And in the words of Delorme, who passed away last year at the age of 89, the film “immortalized our youth and a certain type of moviemaking.” A Pathé release.

Les enfants terribles
Directed by Jean-Pierre Melville
France, 1950, 106m, French with English subtitles
Jacques Rivette claimed that on the night he happened upon the set of this adaptation of Jean Cocteau’s 1929 novel about the alternate world created by an orphaned brother and sister, director Jean-Pierre Melville was nowhere in sight and Cocteau himself was directing the crew. The tension between director and writer was ongoing, but it was also productive, because the final film—in Manny Farber’s words, a “macabre melodrama about incestuous adolescence” that “rates top honors in every film department”—is an unlikely, incongruous mesh of their two vastly different sensibilities. To quote Truffaut, “The best novel of Jean Cocteau became the best film of Jean-Pierre Melville.” With Édouard Dermit and Nicole Stéphane. A Janus Films release.

La Marseillaise
Directed by Jean Renoir
France, 1938, 132m, French with English subtitles
Jean Renoir’s 1938 film about the beginnings of the French Revolution, made with the support of France’s most powerful labor union, is, in François Truffaut’s words, a “neorealist fresco” that continually shuttles between characters throughout the social spectrum: peasants living in the mountains, emigrés from Coblenz, Louis XVI (Renoir’s brother Pierre) and his courtiers. A glorious and, today, lesser-known film from one of the cinema’s greatest directors, whose goal, according to André Bazin, “is to go beyond the historical images to uncover the mundane human reality.” With Louis Jouvet and Renoir regulars Gaston Modot, Nadia Sibirskaïa, and Julien Carette. Print courtesy of French Cultural Services. A Rialto Pictures release.

Safe Conduct / Laissez-passer
Directed by Bertrand Tavernier
France/Germany/Spain, 2002, 170m, French with English subtitles
Bertrand Tavernier’s vigorous and varied portrait of Occupation-era filmmaking in France achieves a Breugelesque richness of perspective—this is a story told by a director deeply in love with his subject. Tavernier’s hero is ace assistant director Jean-Devaivre (Jacques Gamblin), who helps directors like Maurice Tourneur (Philippe Morier-Genoud) bring their most difficult visual ideas to life, negotiates his way through the German hierarchy at Continental Films, and works for the Resistance. With Denis Podalydès in the role of screenwriter (and future Tavernier collaborator) Jean Aurenche, Dardenne regular Olivier Gourmet as producer Roger Richebé, and Laurent Schilling as the screenwriter Charles Spaak.

Henry Hathaway

23 Paces to Baker Street
Directed by Henry Hathaway

USA, 1956, 103m
In this ingenious, light yet genuinely suspenseful mystery, Van Johnson plays a blind American playwright living in London who sits down for a drink in his neighborhood pub one night and overhears a casual plan to commit murder. A beautifully mounted London travelogue in color and Scope, 23 Paces to Baker Street is among the best of the numerous British-set American studio pictures of the era, featuring a succession of expertly mounted set-pieces (the best of which are set in a bustling department store and an abandoned building). With Cecil Parker and Vera Miles as Johnson’s partners in detection. A 20th Century-Fox release.

The Dark Corner
Directed by Henry Hathaway
USA, 1946, 99m
This 1946 melodrama, about a Manhattan P.I. (Mark Stevens) whose adoring secretary (Lucille Ball, who clashed with Hathaway on the set) helps to clear him of a false murder accusation, is the essence of what has come to be known as film noir, from Joseph MacDonald’s stark, shadowy images to the title itself. Made in the wake of Laura’s massive success, the film also stars Clifton Webb as the posh owner of a Manhattan art gallery and features the same clash between the upper crust and the hard-boiled. With William Bendix as the menacing hood on Stevens’ tail. A 20th Century-Fox release.

Down to the Sea in Ships
Directed by Henry Hathaway
USA, 1949, 120m
This lovely film, about a sea captain (Lionel Barrymore) who sets out on a final whaling voyage from New Bedford in 1878 with his grandson (Dean Stockwell) and his young successor (Richard Widmark), is a perfect blend of Hathaway’s special artistry and Fox’s meticulous period craftsmanship. Hathaway and Barrymore had their difficulties on set (assistant director Richard Talmadge doubled for Barrymore in many of his more demanding scenes), but the actor gives a deeply moving performance in his final starring role. Hathaway achieved many technical wonders throughout his career, and the sequence in which the ship runs through a field of icebergs in dense fog is one of his most remarkable. A 20th Century Fox release.

Fourteen Hours
Directed by Henry Hathaway
USA, 1951, 92m
An exciting low-budget film shot on the streets of lower Manhattan, Fourteen Hours is based on the true story of William Warde, who jumped to his death in 1938 after a policeman had spent hours trying to talk him down from a 17th floor ledge at the old Gotham Hotel (now the Peninsula). Richard Basehart (whose wife Stephanie died during production) gives a brilliant performance as the suicidal young man, Paul Douglas is the cop, and the film is packed with formidable character performances (from the likes of Agnes Moorehead, Howard Da Silva, and newcomer Grace Kelly) and vividly cast faces in the crowd below, including those of Ossie Davis, Joyce Van Patten, Brian Keith, and John Cassavetes. A 20th Century-Fox release.

From Hell to Texas
Directed by Henry Hathaway
USA, 1958, 100m
A peaceful cowboy (Don Murray) who kills a man in self-defense is stalked across Texas by the man’s father, a powerful cattle baron (R.G. Armstrong). He is sheltered along the way by a gentle rancher (Chill Wills) and his daughter (Diane Varsi). This unheralded film, one of Hathaway’s very best, has much in common with Peckinpah’s work, but it has a hard-edged relentlessness of its own. From Hell to Texas features a raw, emotional performance from Dennis Hopper as Armstrong’s younger son. The legend goes that Hopper and Hathaway had an “artistic disagreement” resulting in dozens of takes, but if so, they got over it: they worked together twice more in the next decade. A 20th Century-Fox release.

Garden of Evil
Directed by Henry Hathaway
USA/Mexico, 1951, 103m
Gary Cooper, Richard Widmark, and Cameron Mitchell are a trio of gold hunters approached by a desperate woman (Susan Hayward) with a generous offer to find her husband (Hugh Marlowe), who is trapped in their gold mine in an area deep in unforgiving Mexican hill country, known as the “Garden of Evil.” Hathaway’s westerns are all on the tough side, and this film, shot on location in Tepotzotlán, Guanajuato, and in jungles near Acapulco and Parícutin, is one of the toughest. Tavernier considers Garden of Evil one of the finest westerns ever made. With a score by Bernard Herrmann. A 20th Century-Fox release.

Kiss of Death
Directed by Henry Hathaway
USA, 1947, 98m
Hathaway was one of the first Hollywood filmmakers to make a practice of shooting on location—his environments are always integral to the life of the story. This 1947 film, about a jewel thief (Victor Mature) targeted by the mob when he cooperates with the DA, was shot all over New York, from the criminal courts building on Centre Street to the Bronx, and became one of the most influential of the postwar docudramas. Hathaway wanted a local hood named Harry the Hat to play the psychopathic killer Tommy Udo, but he was forced to work with a newcomer named Richard Widmark. They clashed in the beginning, and then cooperated on a truly terrifying character creation. A 20th Century-Fox release.

Niagara
Directed by Henry Hathaway
USA, 1953, 98m
This 1953 suspense melodrama about matching crimes of passion, produced and co-written by Billy Wilder’s former partner Charles Brackett and shot in vibrant Technicolor, is set in the very particular world of honeymoon cottages on the Canadian side of Niagara Falls. Joseph Cotten is the brooding, damaged Korean war vet, and his young wife is played by Marilyn Monroe. “Zanuck was convinced Marilyn Monroe was a passing phenomenon,” said Hathaway of his lead actress, in the role that truly made her a star. “She didn’t know she was as good as she was.” A 20th Century-Fox release.

North to Alaska
Directed by Henry Hathaway
USA, 1960, 122m
Production on this big, boisterous entertainment package was hampered by wayward screenwriters, John Wayne going over schedule on The Alamo, a writers’ strike, and the replacement of original director Richard Fleischer with Hathaway. But the finished film, about a gold prospector (Wayne) who goes to Seattle to retrieve his partner’s fiancée and comes back to Nome with a good time saloon girl (Capucine), is so buoyant, funny, and perfectly keyed to its glorious natural settings that it all feels seamless. With Ernie Kovacs, Stewart Granger in one of his best performances as the partner, and, in the role that brought him the Harvard Lampoon’s coveted “Uncrossed Heart” award for Least Promising Actor, Fabian. A 20th Century-Fox release.

Rawhide
Directed by Henry Hathaway
USA, 1951, 89m
This tightly structured nail-biter, about the siege of a desert relay station by a group of escaped convicts, launched a long-running TV show with Clint Eastwood and set a template for the western suspense film for years to come, from High Noon through 3:10 to Yuma all the way up to last year’s The Hateful Eight. Tyrone Power is the boss’s son who is learning the ropes, Susan Hayward is the woman traveling with her niece, Hugh Marlowe is the leader of the gang, and his fellow convicts are played by Jack Elam, George Tobias, and the brilliant Dean Jagger. A 20th Century-Fox release.

The Shepherd of the Hills
Directed by Henry Hathaway
USA, 1941, 98m
This beautifully crafted Technicolor film, about two warring families in the Ozarks and the benign stranger who suddenly appears in their midst, crosses paths with John Ford (Hathaway’s friend) in its casting (John Wayne and Harry Carey are the stars, and Ward Bond and John Qualen play supporting roles), its rural setting, and its careful attention to community and the passage of time. Yet the film, the third adaptation of Harold Bell Wright’s once-renowned novel, has a very different kind of energy and a rich sense of the uncanny. Shepherd, which Hathaway was instructed to cut down for length, was his last film for Paramount. A Paramount Pictures release.

Spawn of the North
Directed by Henry Hathaway
USA, 1938, 110m
George Raft, Henry Fonda, and Dorothy Lamour star in this boisterous action film about rival fishing crews fighting for dominance of the Alaskan seas, with support from John Barrymore, Akim Tamiroff, and a wondrous mix of technical wizardry and stunning second-unit work (and some lovely Frank Loesser tunes as a bonus). If the story has something of the flavor of a Hawks film, that’s because the screenplay is co-written by Jules Furthman, but Hathaway looks at the friendships and rivalries and romantic entanglements of his characters from his own special angle: his maritime community is wild, loose, and free, no matter the consequences. A Paramount Pictures release.

FILM SOCIETY OF LINCOLN CENTER
The Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema. The only branch of the world-renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film. Via year-round programming and discussions; its annual New York Film Festival; and its publications, including Film Comment, the U.S.’s premier magazine about films and film culture, the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as well as to ensure that it will remain an essential art form for years to come.

The Film Society receives generous, year-round support from American Airlines, The New York Times, HBO, The Kobal Collection, Variety, Loews Regency Hotel, Row NYC Hotel, the National Endowment for the Arts, and the New York State Council on the Arts.

Support for the New York Film Festival is also generously provided by Jaeger-LeCoultre, the Mayor's Office of Media and Entertainment, and the New York Public Library for the Performing Arts.

For more information about the New York Film Festival, visit filmlinc.org/NYFF. For the latest news, subscribe to the festival’s newsletter, follow the festival on Facebook and Twitter, and use the hashtag: #NYFF.

August 17, 2016

NYFF 54 — PROJECTIONS: AVANT-GARDE SHOWCASE

NYFF54

THE FILM SOCIETY OF LINCOLN CENTER
ANNOUNCES THE LINEUP FOR ITS ANNUAL
AVANT-GARDE SHOWCASE, PROJECTIONS,
AT THE 54th NEW YORK FILM FESTIVAL

 

New York, NY (August 17, 2016) – The Film Society of Lincoln Center announces the complete lineup for the Projections section of the 54th New York Film Festival, to take place October 7-9. The slate is comprised of 11 programs presenting an international selection of film and video work that expands upon our notions of what the moving image can do and be. Drawing on a broad range of innovative modes and techniques, including experimental narratives, avant-garde poetics, crossovers into documentary and ethnographic realms, and contemporary art practices, Projections brings together a diverse offering of short, medium, and feature-length work by some of today’s most vital and groundbreaking visual artists.

“With the third edition of Projections, in the belief that artistic radicalism takes many forms, we're casting a wider net than ever,” said Dennis Lim, FSLC Director of Programming and one of the curators of Projections. “This is a section of the festival that we hope reflects the perennially fluid nature of experimental moving-image work, the fascinating and exhilarating ways in which visionary artists are always reinventing the medium to both mirror and shape the historical moment. This may be our most eclectic and energizing lineup yet, juxtaposing major figures of the avant-garde with promising up-and-comers, ranging from abstract short work to feature-length semi-narratives, combining and straddling genres, registers, and generations.”

This year’s lineup features 44 films in 11 programs with 10 world premieres, five North American premieres, and 13 U.S. premieres. Among the highlights are Eduardo Williams’s The Human Surge, winner of the top prize in Locarno’s 2016 Filmmakers of the Present section; world premieres of new work by visual poets Nathaniel Dorsky and Jerome Hiler, the subjects of last year’s NYFF Retrospective; features including Deborah Stratman’s The Illinois Parables and Dane Komljen’s All the Cities of the North; and the U.S. premiere of Há Terra!, directed by 2015 Kazuko Trust Award winner Ana Vaz. This year’s recipient of the Kazuko Award, which recognizes artistic excellence and innovation and is awarded to an emerging filmmaker in the Projections lineup, will be announced in September.

Twenty works will screen on celluloid (15 on 16mm and five on 35mm), including several of this year’s repertory selections: restorations of avant-garde luminary Robert Beavers’s From the Notebook of… (1971/1998) and three historical films by legendary Canadian filmmaker David Rimmer, preserved by the Academy Film Archive, as well as a tribute to the late Peter Hutton with a screening of his In Titan’s Goblet. Projections also features premieres from returning filmmakers Luke Fowler (For Christian), Janie Geiser (Flowers of the Sky), John Smith (Steve Hates Fish), Jesse McLean (See a Dog, Hear a Dog), Kevin Jerome Everson (Ears, Nose and Throat), Tomonari Nishikawa (Ten Mornings Ten Evenings and One Horizon), and many more; the NYFF debuts of acclaimed visual artists Mark Leckey (Dream English Kid, 1964–1999 AD), Rosalind Nashashibi (Electrical Gaza), Steve Reinke (A Boy Needs a Friend), Lawrence Lek (Europa, Mon Amour), Clemens von Wedemeyer (The Horses of a Cavalry Captain), Rosa Barba (Bending to Earth), and Stephen Sutcliffe (Twixt Cup and Lip); and a few Film Society of Lincoln Center alums new to Projections—James N. Kienitz Wilkins (Indefinite Pitch), who was in last year’s NYFF New York shorts program, and filmmakers Komljen and Williams, whose work has screened in the Film Society’s Art of the Real festival.

This year, the NYFF is proud to continue its collaboration with the curated video-on-demand service MUBI, a platform that showcases the best international, classic, and award-winning films from around the globe. MUBI will be a dedicated sponsor of the Projections section for the second consecutive year. Several titles from past Projections lineups will be made available on MUBI leading up to the festival, and a selection from the 2016 program will be featured upon completion of the festival. Details on the films and schedule will be announced at a later date.

Projections is curated by Dennis Lim (FSLC Director of Programming) and Aily Nash (independent curator). Thomas Beard (FSLC Programmer at Large) serves as Program Advisor. The curators wish to thank Colin Beckett, Shelby Shaw, Edo Choi, Maxwell Paparella, Mark Toscano, Gonzalo de Pedro Amatria, and the Andy Warhol Foundation.

Projections tickets are $15 for General Public and $10 for Members & Students. A $99 Projections All Access Pass will also be available for purchase. Visit filmlinc.org/NYFF for more information.

Tickets for the 54th New York Film Festival will go on sale September 11. Becoming a Film Society Member at the Film Buff Level or above provides early ticket access to festival screenings and events ahead of the general public, along with the exclusive member ticket discount. Learn more at filmlinc.org/membership.

For even more access, VIP passes and subscription packages offer the earliest opportunities to purchase tickets and secure seats at some of the festival's biggest events including Opening and Closing Nights, and Centerpiece. VIP passes also provide access to many exciting events, including the invitation-only Opening Night party, “An Evening With…” dinner, Filmmaker Brunch, and VIP Lounge. Benefits vary based on the pass or package type purchased. VIP passes and subscription packages are on sale now. Learn more at filmlinc.org/NYFF.

FILMS & DESCRIPTIONS
All films screen digitally at the Elinor Bunin Munroe Film Center (144 W. 65th St.) unless otherwise noted.

Program 1: THE SPACES BETWEEN THE WORDS
Friday, October 7, 4:00pm
Saturday, October 8, 3:00pm
TRT: 81m

REGAL
Karissa Hahn, USA, 2015, 16mm, 2m
An old Regal Cinemas pre-show animation is further degraded as it’s run through a ringer of format transfers, each layer representing a different viewing space.

Steve Hates Fish
John Smith, UK, 2015, 5m
Recorded from a smartphone screen, its translation app running on the wrong settings and struggling to interpret North London street signs in French and convert them to English, Steve Hates Fish turns errors into unintentional poetry.

Real Italian Pizza
David Rimmer, Canada, 1971, 16mm, 13m
Scenes outside a Manhattan pizza joint, shot over eight months from a fourth-floor apartment window. Men stand eating their slices and drinking their sodas alone; groups of friends and neighborhood acquaintances, mostly black, hang out, talking and laughing; a few cops, all white, march a man away in handcuffs; summer turns to winter. Preserved by the Academy Film Archive.

Now: End of Season
Ayman Nahle, Lebanon, 2015, 20m
U.S. Premiere
In the cosmopolitan Turkish city of Izmir, thousands of Syrians fleeing Assad, ISIS, and the proxy forces lined up behind them, bide their time, waiting to cross the Aegean Sea. On the soundtrack, voices from a previous war.

See a Dog, Hear a Dog
Jesse McLean, USA, 2016, 18m
World Premiere
This tragicomic analysis of communication between humans, animals, and machines was made with original video footage, computer animations, and internet media, including YouTube dog videos, chatbot dialogue windows, and images from iTunes visualizer.

Twixt Cup and Lip
Stephen Sutcliffe, UK, 2016, 23m
World Premiere
This sound and video collage, produced in conjunction with a museum exhibit about Yorkshire playwright and novelist David Storey, draws from BBC outtakes, Edwardian-nostalgic commercial design, and other sources of mid-century British middlebrow to consider the vagaries of class mobility.

Program 2: BEYOND LANDSCAPE
Friday, October 7, 6:30pm
Saturday, October 8, 5:15pm
TRT: 78m

Burning Mountains That Spew Flame / Montañas Ardientes Que Vomitan Fuego
Helena Girón and Samuel Delgado, Spain, 2016, 14m
U.S. Premiere
Scientific claims made by 17th-century Jesuit polymath Athanasius Kircher and political ones made by the Invisible Committee are examined in this journey into the volcanoes of Lanzarote.

Bending to Earth
Rosa Barba, USA/Germany, 2015, 35mm, 15m
Helicopter shots circle variously colored shapes carved into desert landscapes. We discover these manmade inscriptions are storage cells for radioactive material designed to eventually return to the soil.

Ten Mornings Ten Evenings and One Horizon
Tomonari Nishikawa, Japan, 2016, 16mm, 10m
U.S. Premiere
Delivering exactly what his title promises—but not necessarily in the order you’d expect—Nishikawa presents 20 sequences shot along Japan’s Yahagi River; images tautly suspended between stillness and movement, darkness and light.

Canadian Pacific I
David Rimmer, Canada, 1974, 16mm, 9m
Scenes taken from a single, second-floor view of Vancouver Harbor, recorded over three winter months, pieced together with subtle dissolves so as to resemble one ten-minute shot. “Its formalism is very unimposing,” wrote Jonas Mekas, “like in a Hudson School painting.”  

Jáaji Approx.
Sky Hopinka, USA, 2015, 8m
Hopkina’s video address to his father is made of landscape images saturated with dark shadow and dreamy light, and features his father’s own words taken from recordings of Hočak language songs and chants.

Bad Mama, Who Cares
Brigid McCaffrey, USA, 2016, 35mm, 12m
World Premiere
Geologist Ren Lallatin inhabits different spaces—of brilliant snow and blazing sun, rundown towns and little-trodden deserts—in this structural-lyrical landscape film shot on richly tinted film.

Ears, Nose and Throat
Kevin Jerome Everson, USA, 2016, 10m
Everson returns to his hometown of Mansfield, Ohio, in this unblinking look at the simultaneity of the tragic and the mundane in black American life. The subject is the 2010 murder of 25-year-old DeCarrio Couley, who appeared in a number of Everson’s earlier films.

Program 3: THE ILLINOIS PARABLES
Friday, October 7, 8:45pm
TRT: 70m

The Illinois Parables
Deborah Stratman, USA, 2016, 16mm, 60m
Eleven episodes from the history of Illinois stand in for the United States at large. Working in her essayistic, political mode, Deborah Stratman synthesizes an array of materials into a rigorous yet playful consideration of the catastrophe of the state and the resilience of those who make up the nation.

Preceded by
The Horses of a Cavalry Captain / Die Pferde des Rittmeisters
Clemens von Wedemeyer, Germany, 2015, 10m
North American Premiere
During World War II, Wehrmacht captain Harald von Vietinghoff-Riesch traveled in advance of the army scouting for barracks. An amateur cinematographer, he also made 16mm images behind the front. Part of a larger project, Die pferde des Rittmeisters, made by Vietinghoff-Riesch’s grandson, presents footage of the cavalry horses, the artist’s commentary never letting us forget that these attractive creatures were also Nazi machines.

Program 4: FADE OUT
Saturday, October 8, 2:00pm
Saturday, October 8, 7:30pm
TRT: 76m

Old Hat
Zach Iannazzi, USA, 2016, 16mm, 8m
A scrapbook of 16mm images made on the fly, the length of each determined by the position of the Bolex spring when the shot begins. Some shove past as quickly as slides in a carousel advanced at top speed; others—etching the explosive ascent of fireworks in high-contrast white, or the arc of the setting sun on the mirrored glass of an office tower—linger.

Flowers of the Sky
Janie Geiser, USA, 2016, 9m
U.S. Premiere
Named after a medieval term for comets, Flowers of the Sky finds a seemingly infinite number of ways of looking at and into two mid-century postcards depicting the Freemasonic Order of the Eastern Star, using a macro lens and a variety of printing and masking techniques.

Answer Print
Mónica Savirón, USA, 2016, 16mm, 5m
World Premiere
Answer Print is assembled with pieces of deteriorating 16mm color stock. Not only the images themselves but also the world that produced them and which they reproduce—here suspended in the red aspic of faded color dye—threatens to disappear.

Athyrium filix-femina (for Anna Atkins)
Kelly Egan, Canada, 2016, 35mm, 5m
World Premiere
This homage to botanist and photography pioneer Anna Atkins was made in cyanotype photograms and reanimated film stills on stock exposed in the sun. Handcrafted with historically domestic, feminine tools, it’s structured as a narrative in quilting patterns.

Variations on a Cellophane Wrapper
David Rimmer, Canada, 1970, 16mm, 9m
This classic work of Canadian structural cinema consists of an eight-second shot of a woman in a factory unrolling a spool of cellophane in sheets, which crash like waves toward the camera. Rimmer loops the image, replaying it in segments that give it different visual and aural treatments. Preserved by the Academy Film Archive.

Ghost Children
Joao Vieira Torres, Brazil/France, 2016, 17m
North American Premiere
Ghost Children presents seven reminiscences of early childhood, read in seven different voices, as the camera presses close against the faded dye and exaggerated grain of family photographs from the early 1980s. The film encourages the audience to interrogate assumptions about gender, memory, performance, and death.

Cilaos
Camilo Restrepo, France, 2016, 13m
U.S. Premiere
A woman takes her mother’s dying wish to the father she never knew; he is dead but not gone from the Réunion Islands village of Cilaos, historically a Maroon community. With the collaboration of renowned singer Christine Salem, Restrepo develops a trans-diasporic narrative form built on the slave rhythms of Réunionese maloya and Colombian mapalé.
 
Luna e Santur
Joshua Gen Solondz, USA, 2016, 35mm, 11m
U.S. Premiere
Mingling sex and death with the supernatural and subnaturalistic, this visually assaultive threnody alternates white hot light with furious streaks of cruddy black goop, pushing the eye and the ego to their breaking points.

Program 5: SITE AND SOUND
Saturday, October 8, 4:15pm
Sunday, October 9, 12:30pm
TRT: 84m

Indefinite Pitch
James N. Kienitz Wilkins, USA, 2016, 23m
A procession of black and silvery white stills of New England’s Androscoggin River unspools alongside an anxious monologue on movies, memory, and minor history.

Europa, Mon Amour (2016 Brexit Edition)
Lawrence Lek, UK, 2016, 14m
North American Premiere
This guided, two-part meditation on Brexit unfolds in a computer-simulated hallucination of the London district of Dalston, a place with no people but filled with drones and fires.

Strange Vision of Seeing Things
Ryan Ferko, Canada/Serbia, 2016, 14m
U.S. Premiere
Time-spaces of post-Yugoslav Serbia: the empty lobby of a defunct industrial conglomerate’s headquarters in Belgrade; an unseen man describing tripping on acid during the 1999 NATO bombings; a mother and her young son visit ruins left by that same campaign. At first they appear in crisp HD, but cracks form, revealing dimensions beneath the smooth surface.

Foyer
Ismaïl Bahri, France/Tunisia, 2016, 32m
U.S. Premiere
A white haze flutters on-screen, accompanied by street sounds in Tunis. Indistinct shapes appear as passersby engage the cameraman about his project and their lives. He tells one of them, “The wind does the editing.”

Program 6: ALL THE CITIES OF THE NORTH
Saturday, October 8, 6:45pm

All the Cities of the North / Svi severni gradovi
Dane Komljen, Serbia/Bosnia-Herzegovina/Montenegro, 2016, 100m
North American Premiere
In the darkly wooded grounds and concrete boxes of what was once a Yugoslav resort complex, two men share an enigmatic, tender life. A stranger comes to town; things change, but how, what, and why remain ambiguous. In Komljen’s richly suggestive, quietly moving elegy to lost utopias, no words are exchanged, and speech only comes in monologues, taking up questions on the architecture and administration of human sociality. 

Program 7: POP CULTURE CLASH
Saturday, October 8, 9:30pm
Sunday, October 9, 3:00pm
TRT: 63m

A Boy Needs a Friend
Steve Reinke, USA, 2015, 22m
This latest installment of Final Thoughts, the series of unreliably narrated queer video essays that Reinke intends to continue until his death, takes love and friendship as its main subjects. Onto this he latches a long chain of endless digressions, which include, among much else, Stephen King and Joyce Carol Oates, the pleasures of needlepoint, and the design of an anal tattoo.

Spotlight on a Brick Wall
Alee Peoples and Mike Stoltz, USA, 2016, 16mm, 8m
An abstracted nightclub performance, its constituent parts—stand-up comedy, a capella, a laconic bass-and-drum rock duo, a slapstick mime—wrenched apart and recombined.

Return to Forms
Zachary Epcar, USA, 2016, 10m
World Premiere
The surfaces and shapes of typical international contempo yuppie style are defamiliarized, staged in and around a condo in an unnamed urban environment.

Dream English Kid, 1964–1999 AD
Mark Leckey, UK, 2015, 16mm, 23m
North American Premiere
Dream English Kid traces the cultural developments in the life of a working-class English boy, between the start of the Nuclear Test Ban and Azzido Da Bass’s first EP, as a collage of images and sounds, locating the broadly shared within the idiosyncratic and personal.

Program 8: DORSKY AND HILER
Sunday, October 9, 1:00pm
Sunday, October 9, 5:00pm
TRT: 65m

Autumn
Nathaniel Dorsky, USA, 2016, 16mm, 26m
World Premiere
“Autumn, photographed during the last months of the drought year, 2015, is a stately, but intimate, seasonal tome, a celebration of the poignancy and mystery of our later years.” —Nathaniel Dorsky

The Dreamer
Nathaniel Dorsky, USA, 2016, 16mm, 19m
World Premiere
“This year our midsummer’s night was adorned with a glorious full moon. The weeks and days preceding the solstice were magically alive with crisp, cool breezes, bright warm sunlight, and a general sense of heartbreaking clarity. The Dreamer is born out of this most poignant San Francisco spring.” —Nathaniel Dorsky

Bagatelle II
Jerome Hiler, USA, 2016, 16mm, 20m
World Premiere
“With Bagatelle II, I seem to have come full circle by returning to the so-called polyvalent style of my earliest film endeavors from 50 years ago. The film actually includes material from all the intervening decades. It's both up to the moment yet life-spanning, with a thread of deep affection for the special characteristics of 16mm film.” —Jerome Hiler

Program 9: EVENT HORIZONS
Sunday, October 9, 3:15pm
Sunday, October 9, 7:00pm
TRT: 81m

Há Terra!
Ana Vaz, Brazil/France, 2016, 13m
U.S. Premiere
The camera jerks quickly across a field in the Brazilian Sertão, homing in on a young Maroon woman crouching in the tall grass. A hand feels around in the brush, caressing the earth. From these two images, Ana Vaz’s film proceeds on tracks that neither fully merge nor completely diverge, expressing the incommensurability of filmmaker and subject.

Kindah
Ephraim Asili, USA/Jamaica, 2016, 12m
World Premiere
Shot between the Maroon village of Accompong, Jamaica, and Hudson, New York, the alternately sparse and exultantly polyrhythmicKindah is part of a series of films examining the filmmaker's relationship to the African diaspora. The title alludes to the mango tree that symbolizes common kinship in the Jamaican Maroon culture.

In Titan’s Goblet
Peter Hutton, USA, 1991, 16mm, 9m
Titled after a painting by Thomas Cole, this work of Hudson River School landscape filmmaking by the late Peter Hutton is a study of ships and smoke on the water.

An Aviation Field / Um Campo de Aviação
Joana Pimenta, Portugal/USA/Brazil, 2016, 13m
U.S. Premiere
Using warm, darkly saturated 16mm images shot on the volcanic island of Fogo, Cape Verde, and in modernist Brasilia, and sounds that range between trebly crackle and aquatic gurgle, Pimenta constructs a surreal and mythical landscape from the remnants of Portuguese colonialism.

Electrical Gaza
Rosalind Nashashibi, UK, 2015, 18m
Commissioned by London’s Imperial War Museum, Electrical Gaza combines vérité documentary scenes of public life in Gaza shot by Nashashibi in 2014, portraits of her crew, and uncanny, painterly computer animations modeled from the footage, rendering it unreal—as the Israeli government would claim and Palestinians would like to make it. 

Event Horizon
Guillermo Moncayo, France, 2015, 16m
A story modeled on 19th-century ethnography and colonialist travel literature unfolds in titles written in a mythological register. Lush images and sounds accrue a level of detail that refuses knowledge and courts being.

Program 10: FROM THE NOTEBOOK OF . . .
Sunday, October 9, 5:30pm
TRT: 55m

From the Notebook of…
Robert Beavers, Italy/Switzerland, 1971/1998, 35mm, 48m
North American Restoration Premiere
An essential film by one of cinema’s living masters, forged from the brilliant light of Florence streets and the shadow of an oldpensionne, this astounding work of public science and private experience was inspired by Leonardo Da Vinci’s notebooks. According to P. Adams Sitney, this is “the first film of [Beavers’] artistic maturity.”

Preceded by
For Christian
Luke Fowler, UK/USA, 2016, 16mm, 7m
Fowler’s portrait of New York School composer Christian Wolff continues his investigation into the legacies of 20th-century avant-garde music. Short, handheld shots taken at Wolff’s New Hampshire farm are assembled in diagonal relation to a soundtrack that features snippets of conversation with Wolff and passages from his compositions.

Program 11: THE HUMAN SURGE
Sunday, October 9, 7:30pm
TRT: 97m

The Human Surge / El auge del humano
Eduardo Williams, Argentina/Brazil/Portugal, 2016, 97m
U.S. Premiere
A twenty-something in Argentina loses his warehouse job. Boys in Maputo, Mozambique, perform half-hearted sex acts in front of a webcam. A woman in the Philippines assembles electronics in a small factory. Williams’s inquisitive camera is in constant motion, as are his rootless characters, who wander aimlessly, make small talk, futz with their phones, and search for a working Internet connection. Unfolding within the unfree time between casual jobs, this wildly original rumination on labor and leisure in the global digital economy seems to take place in both the immediate present and the far horizon of the foreseeable future. Winner of the top prize in the 2016 Locarno Film Festival’s Filmmakers of the Present section.

FILM SOCIETY OF LINCOLN CENTER
The Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema. The only branch of the world-renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film. Via year-round programming and discussions; its annual New York Film Festival; and its publications, including Film Comment, the U.S.’s premier magazine about films and film culture, the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as well as to ensure that it will remain an essential art form for years to come.

The Film Society receives generous, year-round support from American Airlines, The New York Times, HBO, The Kobal Collection, Variety, Loews Regency Hotel, Row NYC Hotel, the National Endowment for the Arts, and the New York State Council on the Arts.

Support for the New York Film Festival is also generously provided by Jaeger-LeCoultre, the Mayor's Office of Media and Entertainment, and the New York Public Library for the Performing Arts.

For more information about the New York Film Festival, visit filmlinc.org/NYFF. For the latest news, subscribe to the festival’s newsletter, follow the festival on Facebook and Twitter, and use the hashtag: #NYFF.

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