7 posts categorized "Film Society of Lincoln Center"

August 23, 2017

NYFF 55: SPOTLIGHT ON DOCUMENTARY

Colesmithey.com

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES THE COMPLETE LINEUP FOR THE SPOTLIGHT ON DOCUMENTARY SECTION OF THE 55th NEW YORK FILM FESTIVAL 

Includes new works by Abel Ferrara, Alex Gibney, Sara Driver, Nancy Buirski, Mathieu Amalric, and Barbet Schroeder; Vanessa Redgrave’s directorial debut; films featuring Joan Didion, Arthur Miller, Gay Talese, Jean-Michel Basquiat, and Jane Goodall; plus incisive stories about racism, American immigration, the global refugee crisis, and more.


Jane

New York, NY (August 23, 2017) – The Film Society of Lincoln Center announces the complete lineup for the Spotlight on Documentary section of the 55th New York Film Festival (September 28–October 15). This year’s series of dispatches from the front lines of nonfiction cinema features intimate portraits of artists, depictions of social upheaval, and much more.

Selections include three documentaries spotlighting acclaimed writers, including the World Premiere of Griffin Dunne’s Joan Didion: The Center Will Not Hold; returning NYFF filmmaker Rebecca Miller’s tender portrait of her father, Arthur Miller: Writer; and the World Premiere of Myles Kane and Josh Koury’s Voyeur, capturing the investigations explored in Gay Talese’s book The Voyeur’s Motel. Other notable documentary subjects include Jean-Michel Basquiat, who commands the downtown NYC scene of the late ’70s and early ’80s in Sara Driver’s BOOM FOR REAL The Late Teenage Years of Jean-Michel Basquiat; and Jane Goodall, whose original expedition to contact a chimpanzee population is brought back to life via 50-year-old National Geographic footage in Brett Morgen’s Jane.

Additional selections by NYFF alums are Travis Wilkerson’s Did You Wonder Who Fired the Gun?, in which Wilkerson confronts his family’s white supremacist roots; the North American Premiere of The Rape of Recy Taylor, Nancy Buirski’s passionate film about the 1944 case of a black woman who was raped by several white men; Joshua Bonnetta & J.P. Sniadecki’s El mar la mar, a 16mm meditation on the dangerous trek from Mexico to the U.S. through the Sonoran Desert; the North American premiere of Abel Ferrara’s Piazza Vittorio, a charming snapshot of Rome’s largest public square; and three music films by Mathieu Amalric: C’est presque au bout du mondeZorn, and Music Is Music.

Other highlights of this year’s Spotlight on Documentary section include Vanessa Redgrave’s directorial debut, Sea Sorrow, an expertly crafted call for Western aid to the global refugee crisis; Barbet Schroeder’s The Venerable W., which confronts an Islamophobic Burmese Buddhist monk; and Alex Gibney’s No Stone Unturned, a critical investigation into the 1994 Loughinisland massacre in Ireland.

The 18-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; and Amy Taubin, Contributing Editor, Film Comment and Sight & Sound.

As previously announced, the NYFF55 Opening Night is Richard Linklater’s Last Flag Flying, Todd Haynes’s Wonderstruck is Centerpiece, Woody Allen’s Wonder Wheel is Closing Night, and the Retrospective honors Robert Mitchum’s centenary. The complete lineup for the Main Slate can be found here, for Projections here, and for Revivals here.

NYFF Special Events and Convergence sections, as well as filmmaker conversations and panels, will be announced in the coming weeks.

Tickets for the 55th New York Film Festival will go on sale September 10 at noon. 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 and brand new member benefits and offers available throughout NYFF. Learn more at filmlinc.org/membership.

For even more access, VIP passes and 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, Filmmaker Brunch, and VIP Lounge. Benefits vary based on the pass or package type purchased. VIP passes and packages are on sale now. Learn more at filmlinc.org/packages.

FILMS & DESCRIPTIONS

Arthur Miller: Writer
Dir. Rebecca Miller, USA, 2017, 98m
Rebecca Miller’s film is a portrait of her father, his times and insights, built around impromptu interviews shot over many years in the family home. This celebration of the great American playwright is quite different from what the public has ever seen. It is a close consideration of a singular life shadowed by the tragedies of the Red Scare and the death of Marilyn Monroe; a bracing look at success and failure in the public eye; an honest accounting of human frailty; a tribute to one artist by another. Arthur Miller: Writer invites you to see how one of America's sharpest social commentators formed his ideologies, how his life reflected his work, and, even in some small part, shaped the culture of our country in the twentieth century. An HBO Documentary Films release.

BOOM_FOR_REAL_05

BOOM FOR REAL The Late Teenage Years of Jean-Michel Basquiat
Dir. Sara Driver, USA, 2017, 79m
U.S. Premiere
Sara Driver’s documentary is both a celebration of and elegy for the downtown New York art/music/film/performance world of the late 1970s and early ’80s, through which Jean-Michel Basquiat shot like a rocket. Weaving Basquiat’s life and artistic progress in and out of her rich, living tapestry of this endlessly cross-fertilizing scene, Driver has created an urgent recollection of freedom and the aesthetic of poverty. Graffiti meets gestural painting, hip hop infects rock and roll and visa versa, heroin comes and never quite goes, night swallows day, and everybody looms as large as they feel like looming on the crumbling streets of the Lower East Side.

Cielo
Dir. Alison McAlpine, Canada/Chile, 2017, 74m
World Premiere
The first feature from Alison McAlpine, director of the beautiful 2008 “nonfiction ghost story” short Second Sight, is a dialogue with the heavens—in this case, the heavens above the Andes and the Atacama Desert in northern Chile, where the sky “is more urgent than the land.” McAlpine keeps the vast galaxies above and beyond in a delicate balance with the earthbound world of people, gently alighting on the desert- and mountain-dwelling astronomers, fishermen, miners, and cowboys who live their lives with reverence and awe for the skies. Cielo itself is an act of reverence and awe, and its sense of wonder ranges from the intimate and human to the vast and inhuman.

Did You Wonder Who Fired the Gun?
Dir. Travis Wilkerson, USA, 2017, 90m
How is it that some people escape the racism and misogyny in which they are raised, and some cling to it as their reason to exist? For 20 years, Travis Wilkerson has been making films that interrogate the malevolent effects of capitalism on the American Dream. Here he turns his sights on his own family and the small town of Dothan, Alabama, where his white supremacist great-great grandfather S.E. Branch once shot and killed Bill Spann, an African-American man. Branch was arrested but never charged with the crime. The life of his victim has been all but obliterated from memory and public record. “This isn’t a white savior story. This is a white nightmare story,” says the filmmaker, who refuses to let himself or anyone else off the hook.  

El mar la mar
Dir. Joshua Bonnetta & J.P. Sniadecki, USA, 2017, 94m
The first collaboration between film and sound artist Bonnetta and filmmaker/anthropologist Sniadecki (The Iron Ministry, NYFF52) is a lyrical and highly topical film in which the Sonoran Desert, among the deadliest routes taken by those crossing from Mexico to the United States, is depicted a place of dramatic beauty and merciless danger. Haunting 16mm images of the unforgiving landscape and the human traces within it are supplemented with an intricate soundtrack of interwoven sounds and oral testimonies. Urgent yet never didactic, El mar la mar allows this symbolically fraught terrain to take shape in vivid sensory detail, and in so doing, suggests new possibilities for the political documentary. A Cinema Guild release.

Filmworker

Filmworker
Dir. Tony Zierra, USA, 2017, 94m
Leon Vitali was a name in English television and movies when Stanley Kubrick cast him as Lord Bullingdon in Barry Lyndon, but after his acclaimed performance the young actor surrendered his career in the spotlight to become Kubrick’s loyal right-hand man. For the next two decades, Vitali was Kubrick’s factotum, never not on call, for whom no task was too small. Along the way, Vitali’s personal life suffered, he drifted from his children, and his health deteriorated as he gave everything to his work. Filmworker is of obvious interest to anyone who cares about Kubrick, but it is also a fascinating portrait of awe-inspired devotion burning all the way down to the wick.

Hall of Mirrors
Dir. Ena Talakic and Ines Talakic, USA, 2017, 87m
World Premiere
In this lively documentary portrait, the great nonpartisan investigative reporter Edward Jay Epstein, still going strong at 81, takes us through his most notable articles and books, including close looks at the findings of the Warren Commission, the structure of the diamond industry, the strange career of Armand Hammer, and the inner workings of big-time journalism itself. These are interwoven with an in-progress investigation into the circumstances around Edward Snowden’s 2013 leak of classified documents, resulting in Epstein’s recently published, controversial book How America Lost Its Secrets: Edward Snowden, the Man and the Theft. One of the last of his generation of journalists, the energetic, articulate, and boyish Epstein is a truly fascinating character.

Jane
Dir. Brett Morgen, USA, 2017, 90m
U.S. Premiere
In 1960, Dr. Louis Leakey arranged for a young English woman with a deep love of animals to go to Gombe Stream National Park near Lake Tangyanika. The Dutch photographer and filmmaker Hugo van Lawick was sent to document Jane Goodall’s first establishment of contact with the chimpanzee population, resulting in the enormously popular Miss Goodall and the Wild Chimpanzees, the second film ever produced by National Geographic. One hundred hours of Lawick’s original footage was rediscovered in 2014. From that material, Brett Morgen (Kurt Cobain: Montage of Heck) has created a vibrant film experience, giving new life to the experiences of this remarkable woman and the wild in which she found a home. A National Geographic Documentary Films release.

Joan Didion: The Center Will Not Hold
Dir. Griffin Dunne, USA, 2017,  92m
World Premiere
Griffin Dunne’s years-in-the-making documentary portrait of his aunt Joan Didion moves with the spirit of her uncannily lucid writing: the film simultaneously expands and zeroes in, covering a vast stretch of turbulent cultural history with elegance and candor, and grounded in the illuminating presence and words of Didion herself. This is most certainly a film about loss—the loss of a solid American center, the personal losses of a husband and a child—but Didion describes everything she sees and experiences so attentively, so fully, and so bravely that she transforms the very worst of life into occasions for understanding. A Netflix release.

No Stone Unturned
Dir. Alex Gibney, Northern Ireland/USA, 2017, 111m
World Premiere
Investigative documentary filmmaker Alex Gibney—best known for 2008’s Oscar-winning Taxi to the Dark SideEnron: The Smartest Guys in the Room, and at least a dozen others—turns his sights on the 1994 Loughinisland massacre, a cold case that remains an open wound in the Irish peace process. The families of the victims—who were murdered while watching the World Cup in their local pub—were promised justice, but 20 years later they still didn’t know who killed their loved ones. Gibney uncovers a web of secrecy, lies, and corruption that so often results when the powerful insist they are acting for the greater good.

Piazza Vittorio
Dir. Abel Ferrara, Italy/USA 2017, 69m
North American Premiere
Abel Ferrara’s new documentary is a vivid mosaic/portrait of Rome’s biggest public square, Piazza Vittorio, built in the 19th century around the ruins of the 3rd century Trofei di Mario. The Piazza is now truly a crossroad of the modern world: it offers a perfect microcosm of the changes in the west brought by immigration and forced displacement. Ferrara, now a resident of Rome himself, talks with African musicians and restaurant workers, Chinese barkeeps and relocated eastern Europeans, homeless men and women, artists, members of the right wing movement CasaPound Italia, filmmaker Matteo Garrone, actor Willem Dafoe, and others, all with varying opinions about the vast changes they’re seeing in their neighborhood and world.

Recy_Taylor_Portrait

The Rape of Recy Taylor
Dir. Nancy Buirski, USA, 2017, 90m
North American Premiere
On the night of September 3, 1944, a young African-American mother from Abbeville, Alabama, named Recy Taylor was walking home from church with two friends when she was abducted by seven white men, driven away and dragged into the woods, raped by six of the men, and left to make her way home. Against formidable odds and endless threats to her life andthe lives of her family members, Taylor bravely spoke up and pressed charges. Nancy Buirski’s passionate documentary shines a light on a case that became a turning point in the early Civil Rights Movement, and on the many formidable women—including Rosa Parks—who brought the movement to life.

Sea Sorrow
Dir. Vanessa Redgrave, UK, 2017, 72m
Vanessa Redgrave’s debut as a documentary filmmaker is a plea for a compassionate western response to the refugee crisis and a condemnation of the vitriolic inhumanity of current right wing and conservative politicians. Redgrave juxtaposes our horrifying present of inadequate refugee quotas and humanitarian disasters (like last year’s clearing of the Calais migrant camp) with the refugee crises of WWII and its aftermath, recalled with archival footage, contemporary news reports and personal testimony—including an interview with the eloquent Labor politician Lord Dubs, who was one of the children rescued by the Kindertransport. Sea Sorrow reaches further back in time to Shakespeare, not only for its title but also to further remind us that we are once more repeating the history that we have yet to learn.

A Skin So Soft
Denis Côté, Canada/Switzerland/France, 2017, 94m
U.S. Premiere 
Studiously observing the world of male bodybuilding, Denis Côté’s A Skin So Soft (Ta peau si lisse) crafts a multifaceted portrait of six latter-day Adonises through the lens of their everyday lives: extreme diets, training regimens, family relationships, and friendships within the community. Capturing the physical brawn and emotional complexity of its subjects with wit and tenderness, this companion piece to Cote’s singular animal study Bestiaire (2012) is a self-reflexive rumination on the long tradition of filming the human body that also advances a fascinating perspective on contemporary masculinity.

Speak Up
Dir. Stéphane de Freitas, co-directed by Ladj Ly, France, 2017, 99m
North American Premiere
Each year at the University of Saint-Denis in the suburbs of Paris, the Eloquentia competition takes place to determine the best orator in the class. Speak Up (À voix haute - La Force de la Parole) follows the students, who come from a variety of family backgrounds and academic disciplines, as they prepare for the competition while coached by public-speaking professionals like lawyers and slam poets. Through the subtle and intriguing mechanics of rhetoric, these young people both reveal and discover themselves, and it is impossible not to be moved by the personal stories that surface in their verbal jousts, from the death of a Syrian nightingale to a father’s Chuck Norris–inspired approach to his battle with cancer. Without sentimentality, Speak Up proves how the art of speech is key to universal understanding, social ascension, and personal revelation.

The Venerable W.
Dir. Barbet Schroeder, France/Switzerland, 2017, 100m
The Islamophobic Burmese monk known as The Venerable Wirathu has led hundreds of thousands of his Buddhist followers in a hate-fueled, violent campaign of ethnic cleansing, in which the country’s tiny minority of Muslims were driven from their homes and businesses and penned in refugee camps on the Myanmar border. Barbet Schroder’s portrait of this man again proves, along with his General Idi Amin Dada (1974) and Terror’s Advocate (2007), that the director is a brilliant interviewer, allowing power-hungry fascists to damn themselves with their own testimony. His confrontation with Wirathu—a figure whose existence contradicts the popular belief that Buddhism is the most peaceful and tolerant major religion—is revelatory and horrifying. A release from Les Films du Losange.
Preceded by:
What Are You Up to, Barbet Schroeder? (2017, 13m), in which the director traces the path that led him to Myanmar, a center of Theravada Buddhism, where racial hatred was mutating into genocide.

Gay Talese

Voyeur
Myles Kane and Josh Koury, USA, 2017, 96m
World Premiere
Gerald Foos bought a motel in Colorado in the 1960s, furnished the room with louvered vents that allowed him to spy on his guests, and kept a journal of their sexual encounters…among other things. As writer Gay Talese, who had known Foos for more than three decades, came close to the publication of his book The Voyeur’s Motel (preceded by an excerpt in The New Yorker), factual discrepancies in Foos’s account emerged, and documentarians Kane and Koury were on hand to record some wild encounters between the veteran New York journalist and his enigmatic subject. A Netflix release.

Three Music Films by Mathieu Amalric
C’est presque au bout du monde (France, 2015, 16m)
Zorn (2010-2017) (France, 2017, 54m)
Music Is Music (France, 2017, 21m)
These three movies from Mathieu Amalric are musicals, from the inside out: they move with the mental and physical energies of John Zorn, the wildly prolific and protean composer/performer/bandleader/record label founder/club owner and all-around grand spirit of New York downtown music; and via the great Canadian-born soprano/conductor/champion of modern classical music Barbara Hannigan. Amalric’s Zorn film began as a European TV commission that was quickly abandoned in favor of something more intimate: an ongoing dialogue between two friends that will always be a work-in-progress. The two shorter pieces that bracket the Zorn feature Hannigan nurturing music into being with breath, sound, and spirit. Taken together, the three films make for one thrilling, intimate musical-gestural-cinematic ride.

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 Shutterstock, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center.

Support for the New York Film Festival is generously provided by Official Partners HBO® and The New York Times, Benefactor Partners Verizon, FilmStruck, The Village Voice, Dolby, and illy caffé, Hospitality Partners Loews Regency New York and RowNYC, and Supporting Partners MUBI, Fiji Water, Manhattan Portage. WABC-7, WNET New York Public Media, VarietyThe Hollywood Reporter, Deadline Hollywood, JCDecaux, and The Mayor's Office of Media and Entertainment serve as Media Sponsors.

For more information, visit www.filmlinc.org and follow @filmlinc on Twitter.

August 08, 2017

NYFF 55: MAIN SLATE

NYFF 55

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES MAIN SLATE SELECTIONS FOR THE 55th NEW YORK FILM FESTIVAL  

 25 features include new films from Sean Baker, Noah Baumbach, Serge Bozon, Robin Campillo, Claire Denis, Arnaud Desplechin, Philippe Garrel, Greta Gerwig, Alain Gomis, Valeska Grisebach, Luca Guadagnino, Agnieszka Holland, Hong Sang-soo, Aki Kaurismäki, Kiyoshi Kurosawa, Lucrecia Martel, Ruben Östlund, Dee Rees, Joachim Trier, Agnès Varda & JR, and Chloé Zhao


L to R: Zama, On the Beach at Night Alone, Ismael’s Ghosts, Félicité, Lover for a Day, BPM (Beats Per Minute), 
The Meyerowitz Stories (New and Selected), The Square, Thelma

New York, NY (August 8, 2017) – The Film Society of Lincoln Center announces the 25 films for the Main Slate of the 55th New York Film Festival, September 28 – October 15.

NYFF Director and Selection Committee Chair Kent Jones said, “Every year, I’m asked about the themes in our Main Slate line-up, and every year I say the same thing: we choose the best films we see, and the common themes and preoccupations arise only after the fact. As I look at this slate of beautiful work, I could just make a series of simple observations: that these films come from all over the globe; that there is a nice balance of filmmakers known and unknown to many here in New York; that the overall balance between frankness and artistry holds me in awe; that there are two gala selections with the word ‘wonder’ in their titles; and that eight of the 25 films were directed by women.”

This year’s Main Slate showcases films honored at Cannes including Ruben Östlund’s Palme d’Or–winner The Square; Robin Campillo’s BPM, awarded the Cannes Critics’ Prize; and Agnès Varda & JR’s Faces Places, which took home the Golden Eye. From Berlin, Aki Kaurismäki’s Silver Bear–winner The Other Side of Hope and Agnieszka Holland’s Alfred Bauer Prize–winner Spoor mark the returns of two New York Film Festival veterans, while Luca Guadagnino’s acclaimed Call Me by Your Name will be his NYFF debut. Also returning are Arnaud Desplechin, Noah Baumbach, Kiyoshi Kurosawa, Claire Denis, Philippe Garrel, Lucrecia Martel, and Hong Sang-soo, who has two features in the lineup this year, while filmmakers new to the festival include Sean Baker, Greta Gerwig, Serge Bozon, Dee Rees, Chloé Zhao, Joachim Trier, Alain Gomis, and Valeska Grisebach.

As previously announced, the NYFF55 Opening Night is Richard Linklater’s Last Flag Flying, Todd Haynes’s Wonderstruck is Centerpiece, and Woody Allen’s Wonder Wheel will close the festival.

The 55th New York Film Festival Main Slate

Opening Night
Last Flag Flying
Dir. Richard Linklater

Centerpiece
Wonderstruck
Dir. Todd Haynes

Closing Night
Wonder Wheel
Dir. Woody Allen

Before We Vanish
Dir. Kiyoshi Kurosawa

BPM (Beats Per Minute)/120 battements par minute
Dir. Robin Campillo

Bright Sunshine In/Un beau soleil intérieur
Dir. Claire Denis

Call Me by Your Name
Dir. Luca Guadagnino

The Day After
Dir. Hong Sang-soo

Faces Places/Visages villages
Dir. Agnès Varda & JR

Félicité
Dir. Alain Gomis

The Florida Project
Dir. Sean Baker

Ismael’s Ghosts/Les fantômes d’Ismaël
Dir. Arnaud Desplechin

Lady Bird
Dir. Greta Gerwig

Lover for a Day/L’Amant d’un jour
Dir. Philippe Garrel

The Meyerowitz Stories (New and Selected)
Dir. Noah Baumbach

Mrs. Hyde/Madame Hyde
Dir. Serge Bozon

Mudbound
Dir. Dee Rees

On the Beach at Night Alone
Dir. Hong Sang-soo

The Other Side of Hope/Toivon tuolla puolen
Dir. Aki Kaurismäki

The Rider
Dir. Chloé Zhao

Spoor/Pokot
Dir. Agnieszka Holland, in cooperation with Kasia Adamik

The Square
Dir. Ruben Östlund

Thelma
Dir. Joachim Trier

Western
Dir. Valeska Grisebach

Zama
Dir. Lucrecia Martel


NYFF Special Events, Spotlight on Documentary, Revivals, Convergence, and Projections sections, as well as filmmaker conversations and panels, will be announced in the coming weeks.

The 18-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; and Amy Taubin, Contributing Editor, Film Comment and Sight & Sound.

Tickets for the 55th New York Film Festival will go on sale September 10. VIP passes and packages are on sale now and offer one of the earliest opportunities to purchase tickets and secure seats at some of the festival’s biggest events. Learn more at filmlinc.org/packages

55th NEW YORK FILM FESTIVAL
Films & Descriptions

Colesmithey.com

Opening Night
Last Flag Flying
Dir. Richard Linklater, USA, 2017, 119m
World Premiere
In Richard Linklater’s lyrical road movie, as funny as it is heartbreaking, three aging Vietnam-era Navy vets—soft-spoken Doc (Steve Carell), unhinged and unfiltered Sal (Bryan Cranston), and quietly measured Mueller (Laurence Fishburne)—reunite to perform a sacred task: the proper burial of Doc’s only child, who has been killed in the early days of the Iraq invasion. As this trio of old friends makes its way up the Eastern seaboard, Linklater gives us a rich rendering of friendship, a grand mosaic of common life in the USA during the Bush era, and a striking meditation on the passage of time and the nature of truth. To put it simply, Last Flag Flying is a great movie from one of America’s finest filmmakers. An Amazon Studios release.

Centerpiece
Wonderstruck
Dir. Todd Haynes, USA, 2017, 117m
In 1977, following the death of his single mother, Ben (Oakes Fegley) loses his hearing in a freak accident and makes his way from Minnesota to New York, hoping to learn about the father he has never met. A half-century earlier, another deaf 12-year-old, Rose (Millicent Simmonds), flees her restrictive Hoboken home, captivated by the bustle and romance of the nearby big city. Each of these parallel adventures, unfolding largely without dialogue, is an exuberant love letter to a different bygone era of New York. The mystery of how they ultimately converge, which involves Julianne Moore in a lovely dual role, provides the film’s emotional core. Adapted from a young-adult novel by Hugo author Brian Selznick, Wonderstruck is an all-ages enchantment, entirely true to director Todd Haynes’s sensibility: an intelligent, deeply personal, and lovingly intricate tribute to the power of obsession. An Amazon Studios release.

Closing Night
Wonder Wheel
Dir. Woody Allen, USA, 2017
World Premiere
In a career spanning 50 years and almost as many features, Woody Allen has periodically refined, reinvented, and redefined the terms of his art, and that’s exactly what he does with his daring new film. We’re in Coney Island in the 1950s. A lifeguard (Justin Timberlake) tells us a story that just might be filtered through his vivid imagination: a middle-aged carousel operator (Jim Belushi) and his beleaguered wife (Kate Winslet), who eke out a living on the boardwalk, are visited by his estranged daughter (Juno Temple)—a situation from which layer upon layer of all-too-human complications develop. Allen and his cinematographer, the great Vittorio Storaro, working with a remarkable cast led by Winslet in a startlingly brave, powerhouse performance, have created a bracing and truly surprising movie experience. An Amazon Studios release.

Before We Vanish
Dir. Kiyoshi Kurosawa, Japan, 2017, 129m
The latest from master of art-horror Kiyoshi Kurosawa is perhaps his most mainstream film yet, a throwback to 1980s sci-fi. An advance crew of three aliens journey to Earth in preparation for a complete takeover of the planet. They snatch not only bodies but memories, beliefs, values—everything that defines their conquests as human—leaving only hollow shells, which are all but unrecognizable to their loved ones. This disturbing parable for our present moment, replete with stunning images—including a drone attack and a bit of Clockwork Orange–style murder and mayhem—is also a profoundly mystical affirmation of love as the only form of resistance and salvation. A Neon release.

BPM (Beats Per Minute)/120 battements par minute
Dir. Robin Campillo, France, 2017, 144m
U.S. Premiere
In the early 1990s, ACT UP—in France, as in the U.S.—was on the front lines of AIDS activism. Its members, mostly gay, HIV-positive men, stormed drug company and government offices in “Silence=Death” T-shirts, facing down complacent suits with the urgency of their struggle for life. Robin Campillo (Eastern Boys) depicts their comradeship and tenacity in waking up the world to the disease that was killing them and movingly dramatizes the persistence of passionate love affairs even in dire circumstances. All the actors, many of them unknown, are splendid in this film, which not only celebrates the courage of ACT UP but also tacitly provides a model of resistance to the forces of destruction running rampant today. A release of The Orchard.        

Bright Sunshine In/Un beau soleil intérieur
Dir. Claire Denis, France, 2017, 95m
North American Premiere
Juliette Binoche is both incandescent and emotionally raw in Claire Denis’s extraordinary new film as Isabelle, a middle-aged Parisian artist in search of definitive love. The film moves elliptically, as though set to some mysterious bio-rhythm, from one romantic/emotional attachment to another: from the boorish married lover (Xavier Beauvois); to the subtly histrionic actor (Nicolas Duvauchelle), also married; to the dreamboat hairdresser (Paul Blain); to the gentle man (Alex Descas) not quite ready for commitment to . . . a mysterious fortune-teller. Appropriately enough, Bright Sunshine In (very loosely inspired by Roland Barthes’s A Lover’s Discourse) feels like it’s been lit from within; it was lit from without by Denis’s longtime cinematographer Agnès Godard. It is also very funny. A Sundance Selects release.

Call Me by Your Name
Dir. Luca Guadagnino, Italy/France, 2017, 132m
A story of summer love unlike any other, the sensual new film from the director of I Am Love, set in 1983, charts the slowly ripening romance between Elio (Timothée Chalamet), an American teen on the verge of discovering himself, and Oliver (Armie Hammer), the handsome older grad student whom his professor father (Michael Stuhlbarg) has invited to their vacation home in Northern Italy. Adapted from the wistful novel by André Aciman, Call Me by Your Name is Guadagnino’s most exquisitely rendered, visually restrained film, capturing with eloquence the confusion and longing of youth, anchored by a remarkable, star-making performance by Chalamet, always a nervy bundle of swagger and insecurity, contrasting with Hammer’s stoicism. A Sony Pictures Classics release.

The Day After
Dir. Hong Sang-soo, South Korea, 2017, 92m
U.S. Premiere
Hong continues in the openly emotional register of his On the Beach at Night Alone, also showing in this year’s Main Slate. Shot in moody black and white, The Day After opens with book publisher Bongwan (Kwon Hae-hyo) fending off his wife’s heated accusations of infidelity. At the office, it’s the first day for his new assistant, Areum (Kim Min-hee), whose predecessor was Bongwan’s lover. Mistaken identity, repetition compulsion, and déjà vu figure into the narrative as the film entangles its characters across multiple timelines through an intricate geometry of desire, suspicion, and betrayal. The end result is one of Hong’s most plaintive and philosophical works.

Colesmithey.com

Faces Places/Visages villages
Dir. Agnès Varda & JR, France, 2016, 89m
The 88-year-old Agnès Varda teamed up with the 33-year-old visual artist JR for this tour of rural France that follows in the footsteps of Varda’s groundbreaking documentary The Gleaners and I (NYFF 2000) in its celebration of artisanal production, workers’ solidarity, and the photographic arts in the face of mortality. Varda and JR wielded cameras themselves, but they were also documented in their travels by multiple image and sound recordists. Out of this often spontaneous jumble, Varda and her editor Maxime Pozzi-Garcia created an unassuming masterpiece (the winner of this year’s L’Oeil d’or at Cannes) that is vivid, lyrical, and inspiringly humanistic. A Cohen Media Group release.

Félicité
Dir. Alain Gomis, France/Senegal/Belgium/Germany/Lebanon, 2017, 124m
U.S. Premiere
The new film from Alain Gomis, a French director of Guinea-Bissauan and Senegalese descent, is largely set in the roughest areas of the rough city of Kinshasa in the Democratic Republic of the Congo. Here, a woman named Félicité (Véro Tshanda Beya Mputu) scrapes together a living as a singer in a makeshift bar (her accompanists are played by members of the Kasai Allstars band). When her son is seriously injured in an accident, she goes in search of money for his medical care and embarks on a double journey: through the punishing outer world of the city and the inner world of the soul. Félicité is tough, tender, lyrical, mysterious, funny, and terrifying, both responsive to the moment and fixed on its heroine’s spiritual progress. A Strand Releasing release.

The Florida Project
Dir. Sean Baker, USA, 2017, 105m
U.S. Premiere
A six-year-old girl (the remarkable Brooklynn Prince) and her two best friends run wild on the grounds of a week-by-week motel complex on the edge of Orlando’s Disney World. Meanwhile, her mother (talented novice Bria Vinaite) desperately tries to cajole the motel manager (an ever-surprising Willem Dafoe) to turn a blind eye to the way she pays the rent. A film about but not for kids, Baker’s depiction of childhood on the margins has fierce energy, tenderness, and great beauty. After the ingenuity of his iPhone-shot 2015 breakout Tangerine, Baker reasserts his commitment to 35mm film with sun-blasted images that evoke a young girl’s vision of adventure and endurance beyond heartbreak. An A24 release.

Ismael’s Ghosts/Les fantômes d’Ismaël
Dir. Arnaud Desplechin, France, 2017, 132m
North American Premiere
Phantoms swirl around Ismael (Mathieu Amalric), a filmmaker in the throes of writing a spy thriller based on the unlikely escapades of his brother, Ivan Dedalus (Louis Garrel). His only true source of stability, his relationship with Sylvia (Charlotte Gainsbourg), is upended, as is the life of his Jewish documentarian mentor and father-in-law (László Szabó), when Ismael’s wife Carlotta (Marion Cotillard), who disappeared twenty years earlier, returns, and, like one of Hitchcock’s fragile, delusional femmes fatales, expects that her husband and father are still in thrall to her. A brilliant shape-shifter—part farce, part melodrama—Ismael’s Ghosts is finally about the process of creating a work of art and all the madness required. A Magnolia Pictures release.

Lady Bird
Dir. Greta Gerwig, USA, 2017, 93m

Greta Gerwig’s directorial debut is a portrait of an artistically inclined young woman (Saoirse Ronan) trying to define herself in the shadow of her mother (Laurie Metcalf) and searching for an escape route from her hometown of Sacramento. Moods are layered upon moods at the furious pace of late adolescence in this lovely and loving film, which shifts deftly from one emotional and comic register to the next. Lady Bird is rich in invention and incident, and it is powered by Ronan, one of the finest actors in movies. With Lucas Hedges and Timothée Chalamet as the men in Lady Bird’s life, Beanie Feldstein as her best friend, and Tracy Letts as her dad. An A24 release.

Lover for a Day/L’Amant d’un jour
Dir. Philippe Garrel, France, 2017, 76m
North American Premiere
Lover for a Day is an exquisite meditation on love and fidelity that recalls Garrel's previous NYFF selections Jealousy (NYFF 2013) and In the Shadow of Women (NYFF 2015). After a painful breakup, heartbroken Jeanne (Esther Garrel) moves back in with her university professor father, Gilles (Eric Caravaca), to discover that he is living with optimistic, life-loving student Ariane (newcomer Louise Chevillotte), who is the same age as Jeanne. An unusual triangular relationship emerges as both girls seek the favor of Gilles, as daughter or lover, while developing their own friendship, finding common ground despite their differences. Gorgeously shot in grainy black and white by Renato Berta (Au revoir les enfants), Lover for a Day perfectly illustrates Garrel's poetic exploration of relationships and desire. A MUBI release.

The Meyerowitz Stories (New and Selected)
Dir. Noah Baumbach, USA, 2017, 110m
North American Premiere
Noah Baumbach revisits the terrain of family vanities and warring attachments that he began exploring with The Squid and the Whale in this intricately plotted story of three middle-aged siblings (Adam Sandler, Ben Stiller, and Elizabeth Marvel) coping with their strong-willed father (Dustin Hoffman) and the flightiness of his wife (Emma Thompson). Baumbach’s film never stops deftly changing gears, from surges of pathos to painful comedy and back again. Needless to say, this lyrical quicksilver comedy is very much a New York experience. A Netflix release.

Colesmithey.com

Mrs. Hyde/Madame Hyde
Dir. Serge Bozon, France, 2017, 95m
North American Premiere
Serge Bozon’s eccentric comedic thriller is loosely based on Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, with many a twist. Mrs. Géquil (Isabelle Huppert), a timid and rather peculiar physics professor, teaches in a suburban technical high school. Apart from her quiet married life with her gentle stay-at-home husband, she is mocked and despised on a daily basis by pretty much everyone around her—headmaster, colleagues, students. During a dark, stormy night, she is struck by lightning and wakes up a decidedly different person, a newly powerful Mrs. Hyde with mysterious energy and uncontrollable powers. Highlighted by Bozon's brilliant mise en scène, Isabelle Huppert hypnotizes us again, securing her place as the ultimate queen of the screen.

Mudbound
Dir. Dee Rees, USA, 2017, 134m
Writer/director Dee Rees’s historical epic details daily life and social dynamics in the failing economy of Mississippi during the World War II era. Two families, one white (the landlords) and one black (the sharecroppers), work the same miserable piece of farmland. Out of need and empathy, the mothers of the two families bond as their younger male relatives go off to war and learn that there is a world beyond racial hatred and fear. The flawless ensemble cast includes Carey Mulligan, Mary J. Blige, Garrett Hedlund, Jason Mitchell, Jason Clarke, Rob Morgan, and Jonathan Banks. A Netflix release.

On the Beach at Night Alone
Dir. Hong Sang-soo, South Korea, 2017, 101m
Hong Sang-soo’s movies have always invited autobiographical readings, and his 19th feature is perhaps his most achingly personal film yet, a steel-nerved, clear-eyed response to the tabloid frenzy that erupted in South Korea over his relationship with actress Kim Min-hee. The film begins in Hamburg, where actress Young-hee (played by Kim herself, who won the Best Actress prize at Berlin for this role) is hiding out after the revelation of her affair with a married filmmaker. Back in Korea, a series of encounters shed light on Young-hee’s volatile state, as she slips in and out of melancholic reflection and dreams. Centered on Kim’s astonishingly layered performance, On the Beach at Night Alone is the work of a master mining new emotional depths. A Cinema Guild release.

The Other Side of Hope/Toivon tuolla puolen
Dir. Aki Kaurismäki, Finland, 2017, 98m
Leave it to Aki Kaurismäki (Le Havre, NYFF 2011), peerless master of humanist tragicomedy, to make the first great fiction film about the 21st century migrant crisis. Having escaped bombed-out Aleppo, Syrian refugee Khlaed (Sherwan Haji) seeks asylum in Finland, only to get lost in a maze of functionaries and bureaucracies. Meanwhile, shirt salesman Wikström (Sakari Kuosmanen) leaves his wife, wins big in a poker game, and takes over a restaurant whose deadpan staff he also inherits. These parallel stories dovetail to gently comic and enormously moving effect in Kaurismäki’s politically urgent fable, an object lesson on the value of compassion and hope that remains grounded in a tangible social reality. A Janus Films release.

The Rider
Dir. Chloé Zhao, USA, 2017, 104m
The hardscrabble economy of America’s rodeo country, where, for some, riding and winning is the only source of pleasure and income, is depicted with exceptional compassion and truth by a filmmaker who is in no way an insider: Zhao was born in Beijing and educated at Mount Holyoke and NYU. Set on the Pine Ridge Reservation in South Dakota, The Rider is a fiction film that calls on nonprofessional actors to play characters similar to themselves, incorporating their skill sets and experiences. Brady Jandreau is extraordinary as a badly injured former champion rider and horse trainer forced to give up the life he knows and loves. A Sony Pictures Classics release.

Spoor/Pokot
Dir. Agnieszka Holland, in cooperation with Kasia Adamik, Poland/Germany/Czech Republic, 2017, 128m
U.S. Premiere
Janina Duszejko (Agnieszka Mandat) is a vigorous former engineer, part-time teacher, and animal activist, living in a near wilderness on the Polish-Czech border, where hunting is the favored year-round sport of the corrupt men who rule the region. When a series of hunters die mysteriously, Janina wonders if the animals are taking revenge, which doesn’t stop the police from coming after her. A brilliant, passionate director, Agnieszka Holland—who like Janina comes from a generation that learned to fight authoritarianism by any means necessary—forges a sprawling, wildly beautiful, emotionally enveloping film that earns its vision of utopia. It’s at once a phantasmagorical murder mystery, a tender, late-blooming love story, and a resistance and rescue thriller.

Colesmithey.com

The Square
Dir. Ruben Östlund, Sweden, 2017, 150m
A precisely observed, thoroughly modern comedy of manners, Ruben Östlund’s Palme d’Or–winner revolves around Christian (Claes Bang), a well-heeled contemporary art curator at a Stockholm museum. While preparing his new exhibit—a four-by-four-meter zone designated as a “sanctuary of trust and caring”—Christian falls prey to a pickpocketing scam, which triggers an overzealous response and then a crisis of conscience. Featuring several instant-classic scenes and a vivid supporting cast (Elisabeth Moss, Dominic West, and noted motion-capture actor Terry Notary), The Square is the most ambitious film yet by one of contemporary cinema’s most incisive social satirists, the rare movie to have as many laughs as ideas. A Magnolia Pictures release.

Thelma
Dir. Joachim Trier, Norway/Sweden/France, 2017, 116m
In the new film from Joachim Trier (Reprise), an adolescent country girl (Eili Harboe) has just moved to the city to begin her university studies, with the internalized religious severity of her quietly domineering mother and father (Ellen Dorrit Petersen and Henrik Rafaelsen) always in mind. When she realizes that she is developing an attraction to her new friend Anja (Okay Kaya), she begins to manifest a terrifying and uncontrollable power that her parents have long feared. To reveal more would be a crime; let’s just say that this fluid, sharply observant, and continually surprising film begins in the key of horror and ends somewhere completely different. A release of The Orchard.

Western
Dir. Valeska Grisebach, Germany and Bulgaria, 2017, 119m
U.S. Premiere
As its title suggests, German director Valeska Grisebach’s first feature in a decade is a supremely intelligent genre update that recognizes the Western as a template on which to draw out eternal human conflicts. In remote rural Bulgaria, a group of German workers are building a water facility. Meinhard (Meinhard Neumann), the reserved newbie in this all-male company, immediately draws the ire of the boorish team leader, not least for his willingness to mingle with the wary locals. Cast with utterly convincing nonprofessional actors, Western is a gripping culture-clash drama, attuned both to old codes of masculinity and new forms of colonialism. A Cinema Guild release.

Zama
Dir. Lucrecia Martel, Argentina/Brazil/Spain, 2017, 115m
U.S. Premiere
The great Lucrecia Martel ventures into the realm of historical fiction and makes the genre entirely her own in this adaptation of Antonio di Benedetto’s 1956 classic of Argentinean literature. In the late 18th century, in a far-flung corner of what seems to be Paraguay, the title character, an officer of the Spanish crown (Daniel Giménez Cacho) born in the Americas, waits in vain for a transfer to a more prestigious location. Martel renders Zama’s world—his daily regimen of small humiliations and petty politicking—as both absurd and mysterious, and as he increasingly succumbs to lust and paranoia, subject to a creeping disorientation. Precise yet dreamlike, and thick with atmosphere, Zama is a singular and intoxicating experience, a welcome return from one of contemporary cinema’s truly brilliant minds.

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 Shutterstock, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center. 

Support for the New York Film Festival is generously provided by Official Partner HBO® and The New York Times, Benefactor Partners Verizon, FilmStruck, The Village Voice, Dolby, and illy caffé, Hospitality Partners Loews Regency New York and RowNYC, and Supporting Partners MUBI, Fiji Water, Manhattan Portage. WABC-7, WNET New York Public Media, Variety, The Hollywood Reporter, Deadline Hollywood, JCDecaux, and The Mayor's Office of Media and Entertainment serve as Media Sponsors.

For more information, visit www.filmlinc.org and follow @filmlinc on Twitter.

July 31, 2017

JANE CAMPION'S OWN STORIES AT FSLC

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES JANE CAMPION’S OWN STORIES, SEPTEMBER 8-17 

 Retrospective includes the director’s complete feature filmography plus restored shorts  

Campion in person for a special conversation and sneak preview of Top of the Lake: China Girl


Bright Star / The Piano

New York, NY (July 31, 2017) – The Film Society of Lincoln Center announces Jane Campion’s Own Stories, a retrospective of the groundbreaking filmmaker’s rich and revelatory body of work, September 8-17.

Since her indelible 1989 theatrical feature debut Sweetie, New Zealand–born Jane Campion has been one of the most distinctive talents in world cinema. The first woman awarded the Palme d’Or at Cannes—for her Oscar-winning 1993 feature The Piano—Campion makes films that reflect a highly personal and idiosyncratic style, influenced by her background in anthropology and painting and notable for their visual inventiveness, dark sense of humor, and complex depictions of women and sexuality. For four decades now, Campion has moved freely across genres—family melodrama (Sweetie), gothic romance (The Piano), literary adaptation (An Angel at My Table, The Portrait of a Lady), farce (Holy Smoke), suspense-thriller (In the Cut)—as well as between cinema and television.

Coinciding with the U.S. premiere of Campion’s eagerly awaited series Top of the Lake: China Girl on SundanceTV this September, the Film Society presents a retrospective survey of the director’s work, including her complete feature filmography, entirely on celluloid; her underseen made-for-television first feature Two Friends on 16mm; a program of short films, including three restored early works and two recent ones; and a free marathon screening of the first installment of Top of the Lake held in the Elinor Bunin Munroe Film Center’s Amphitheater.

The filmmaker will appear in person for two special events: An Evening with Jane Campion, a career-spanning discussion to kick off the series on Friday, September 8, and a sneak preview of the first two episodes of Top of the Lake: China Girlon Saturday, September 9, featuring a post-screening Q&A with Campion and series co-creator Gerard Lee.

Tickets go on sale August 24, with an early access period for Film Society Members beginning August 22, and are $14; $11 for students and seniors (62+); and $9 for Film Society members. See more and save with the 3+ film discount package. Note: Special pricing may apply to select events. Learn more at filmlinc.org.

Organized by Dennis Lim and Tyler Wilson.

Jane Campion’s Own Stories is sponsored by SundanceTV. Top of the Lake: China Girl premieres as a 3-night special event starting September 10.

Acknowledgments:
SundanceTV; See-Saw Films; BBC Worldwide; Australian Film, Television and Radio School; National Film & Sound Archive of Australia; Chicago Film Society; Yale Film Study Center; Kate Richter.

FILMS & DESCRIPTIONS
All films screen at the Walter Reade Theater (165 West 65th Street) unless otherwise noted. 

Colesmithey.com

An Angel at My Table
New Zealand/Australia/UK/USA, 1990, 35mm, 158m
Based on the autobiography of Janet Frame, Campion’s clear-eyed, sprawling feature—initially produced as a television miniseries—depicts the life of New Zealand’s most acclaimed author, who spent eight years hospitalized after a mistaken schizophrenia diagnosis. Divided into three sections, Frame’s story is told through different actresses (Alexia Keogh, Karen Fergusson, and Kerry Fox—each sublime and uncannily matched) who inhabit various ages of the writer’s life, from her childhood in prewar New Zealand, to her introverted adolescence and harrowing years around her institutionalization, to her literary success and experiences around the world. Intricate in its representation of time and interiority, An Angel at My Table is an unsentimental yet emotionally intense portrait of the artist as both narrator and subject. An NYFF28 selection. Print courtesy of the National Film & Sound Archive, Australia.
Sunday, September 10, 3:00pm
Saturday, September 16, 4:00pm

Bright Star
UK/Australia/France, 2009, 35mm, 119m
Campion’s latest feature film is a quietly tender love story as well as a devastating portrait of an artist beset by tragedy. During the last few years of the fledgling poet's tragic life, John Keats (Ben Whishaw) is introduced to Fanny Brawne (Abbie Cornish) in London, 1818. Although the two embark on a passionate courtship—to the dismay of others in their circle, including Keats’s friend and writing associate Charles Brown (Paul Schneider)—their vibrant love affair is nonetheless shaded by imminent heartbreak. With Greig Fraser’s delicate cinematography, longtime Campion collaborator Janet Brown’s sophisticated production design (The PianoThe Portrait of a Lady), and the vivacious chemistry between the film’s accomplished young leads, Bright Star is Campion’s most romantic film to date.
Monday, September 11, 6:30pm
Sunday, September 17, 8:00pm

Holy Smoke
USA/Australia, 1999, 35mm, 115m
Kate Winslet and Harvey Keitel turn in brave performances in this madcap comedy of the sexes, written by Jane and her sister Anna Campion (to whom Sweetie is dedicated). After falling under the sway of a cultish guru in India, Ruth Barron (Winslet) is deceived by her parents to return home so that she can be deprogrammed by world-renowned “exit counselor” PJ Waters (Keitel). Something between a therapist and a mercenary, Waters travels halfway around the world and takes Ruth into the Australian bush to interrogate, question, and break down everything she believes—but what begins as a debate over spiritual ideals spirals into a role reversal that must be seen to be believed. Holy Smoke was Campion’s most unusual film since Sweetie: a funny and hallucinatory critique of patriarchal civility, but one whose message is ultimately humanist. An NYFF37 selection.
Sunday, September 10, 9:00pm
Friday, September 15, 6:30pm

In the Cut
USA/UK/Australia, 2003, 35mm, 119m
Based on the novel by Susanna Moore and produced by Nicole Kidman, In the Cut renders the erotic thriller with a haunting, meditative gaze. After learning about the brutal murder of a young woman in her neighborhood, English professor Frannie Avery (Meg Ryan, in a powerful and uncharacteristic role) begins an affair with one of the investigating police detectives, Giovanni Malloy (Mark Ruffalo). As their relationship becomes increasingly passionate, Frannie questions Malloy’s suspicious role in the investigation, and uses sexual desire as a tool for defense and titillation. Framing noughties New York with a soft amber glow and subjective visual style, In the Cut knowingly investigates the means of perception—obscuring, among other archetypes, the line between female victim and femme fatale.
Friday, September 15, 9:00pm
Sunday, September 17, 2:30pm

The Piano
New Zealand/Australia/France, 1993, 35mm, 121m
Campion became the first female director to win the Palme d’Or at Cannes for this singularly haunting and beautiful tale, suffused with her anthropological, literary, and surrealist impulses. In the 19th century, mute Scotswoman Ada and her young daughter (Holly Hunter and Anna Paquin, who both won Oscars for their roles) move to remote coastal New Zealand to meet her new husband, Stewart (Sam Neill). After he sells her beloved piano—her preferred means of communication—to Baines (Harvey Keitel), Stewart’s employee and a local eccentric, Ada agrees to repossess her property through sexual favors. A mysterious and subdued romance as well as a fearless depiction of power and sexuality, The Piano announced to audiences worldwide the boldly original talent already on display in Sweetie and An Angel at My Table. An NYFF31 selection. Print Courtesy of the Yale Film Study Center.
Sunday, September 10, 6:00pm
Saturday, September 16, 9:00pm

The Portrait of a Lady
UK/USA, 1996, 35mm, 144m
As early as its opening credit sequence, this interpretation of Henry James’s masterwork insinuates a modern, tactile, and perceptive vision that is entirely Campion’s. Nicole Kidman stars as the resolute young American, Isabel Archer, who rejects a proposal from her English cousin (Richard E. Grant) and falls prey to the schemes of two American expatriates, the independent and worldly Madame Merle (Barbara Hershey) and Gilbert Osmond (John Malkovich), a dilettante artist with little means but enough cunning to woo Isabel. Sumptuously photographed and exceedingly intelligent, The Portrait of a Lady is a cinematic fever dream fascinated by the pictorial and sensuous forms of dominance within James’s text, and the inextricable bond between romantic love and violence.
Friday, September 8, 9:00pm
Sunday, September 17, 5:00pm

Shorts: 1982-2007 (TRT: 70m)
An Exercise in Discipline: Peel
Australia, 1982, 9m
A father, his son, and sister grow increasingly hostile toward one another after an orange peel is tossed out a car window. Winner of the Cannes Film Festival’s Palme d’Or for Best Short Film in 1986.
Passionless Moments
Australia, 1983, 13m
An omniscient narrator recounts a series of brief, droll vignettes around a neighborhood in Sydney.
A Girl’s Own Story
Australia, 1984, 27m
Campion’s final student film follows the disquieting familial and social encounters of three adolescent girls—Pam, Stella, and Gloria—in 1960s Australia.  
The Water Diary
Australia/France, 2006, 18m
Produced for the 2008 anthology film 8 about the United Nations' eight Millennium Development Goals, The Water Diaryis a mystical vision of a family living through a drought in the Australian outback.
The Lady Bug
France, 2007, 3m
A woman dressed like an insect tries to dance while a cleaning man tries to kill her. Made for the collective film To Each His Own Cinema to celebrate the 60th Anniversary of the Cannes Film Festival.
Tuesday, September 12, 7:00pm*
Thursday, September 14, 9:00pm*
*Elinor Bunin Munroe Film Center, Francesca Beale Theater, 144 West 65th Street

Sweetie
Australia, 1989, 35mm, 97m
If Campion’s Palme d’Or–winning short An Exercise in Discipline: Peel announced a promising new voice in cinema, Sweetie found the filmmaker in full command of her descriptive, surrealist visual style and iconoclastic sense of humor. Co-written by Gerard Lee (Top of the Lake), this bleakly funny and profoundly unsettling film is centered around a pair of dysfunctional sisters in Sydney, Australia: Kay (Karen Colston), a repressed and superstitious twenty-something woman who still lives at home, and the unhinged, domineering Sweetie (Geneviève Lemon), who returns and disturbs the family dynamic. Gradually, the reasons for the sisters’ peculiar adult behavior come into focus. Vibrantly photographed by Sally Bongers, Sweetie depicts Australian suburbia and its residents as both simultaneously mundane and menacing, ludicrous and moving, comical and disturbing. An NYFF27 selection. Print courtesy of the Chicago Film Society.
Saturday, September 9, 9:30pm
Monday, September 11, 9:00pm
Saturday, September 16, 7:00pm

Two Friends
Australia, 1986, 16mm, 76m
A coming-of-age story told in reverse, Campion’s underseen first feature (written by renowned Australian novelist Helen Garner) delicately renders femininity and adolescence through the depiction of two girls’ unraveling friendship. Kris Bidenko and Emma Coles deliver nuanced debut performances as Kelly and Louise, 15-year-olds whose relationship has already ended at the film’s start. Moving backwards from there, Campion reveals—in a manner both tragic and deceptively optimistic—the fleeting moments of the past year that suggest how, where, and when the girls’ paths diverged. Originally made for television, Two Friends screened at the 1986 Cannes Film Festival along with three of Campion’s student films, An Exercise in Discipline: PeelPassionless Moments, and A Girl’s Own Story.
Tuesday, September 12, 9:00pm*
Thursday, September 14, 7:00pm*
*Elinor Bunin Munroe Film Center, Francesca Beale Theater, 144 West 65th Street

SPECIAL EVENTS

Conversation
An Evening with Jane Campion (TRT approx. 90m)
In anticipation of Top of the Lake: China Girl—a highlight at this year’s Cannes Film Festival, airing on SundanceTV starting in September—Jane Campion will join us at the Film Society of Lincoln Center for a special onstage conversation spanning her entire career, featuring excerpts from her acclaimed crime series as well as her features and short films. She will discuss the work that has inspired and influenced her career and take questions from the audience.
Friday, September 8, 7:00pm

Sneak Preview
Top of the Lake: China Girl (episodes 1 & 2)
Jane Campion & Ariel Kleiman, UK/Australia/New Zealand/USA, 2017, approx. 120m
Elisabeth Moss reprises her Golden Globe–winning role as Detective Robin Griffin in the second installment of Campion and co-creator Gerard Lee’s acclaimed miniseries, which also features fresh characters played by Nicole Kidman and Gwendoline Christie. Four years after the traumatic events of 2013’s Top of the Lake, Robin struggles with her past while attempting to find normalcy following a break up with her fiancé and the police force. The remote landscape of Laketop, New Zealand, has been exchanged for the urban congestion of Sydney, home to Robin’s latest case, concerning a pregnant corpse found washed ashore. Following the series’ acclaimed premiere at this year’s Cannes Film Festival, the Film Society of Lincoln Center is pleased to present a sneak preview of the new season’s first two episodes, directed by Campion and Ariel Kleiman. A SundanceTV release.
Saturday, September 9, 6:30pm (Q&A with Jane Campion and Gerard Lee)

Free Screening
Top of the Lake
Jane Campion & Garth Davis, New Zealand, 2013, 342m
Elisabeth Moss stars in this thrilling, seven-episode television series, perhaps the toughest, wildest drama Campion has ever made. With its vast, primal setting and six-hour time frame, Top of the Lake is episodic television as epic poem, the Trojan War recast as gender battle. Moss plays a detective who has returned to the bleak rural town where she grew up in order to spend time with her dying mother, and is soon recruited by the sole local police officer (David Wenham) to investigate a case of statutory rape. The 12-year-old victim refuses to disclose who got her pregnant, but there are no lack of suspects. The themes that underscore Campion’s films are all here, particularly the fear that bedevils female agency: of making bad, even deadly, choices in matters of sex and love.
Saturday, September 9, 12:00pm*
*Elinor Bunin Munroe Film Center, Amphitheater, 144 West 65th Street

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 Shutterstock, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center. For more information, visit www.filmlinc.org and follow @filmlinc on Twitter.

July 06, 2017

TODD HAYNES’S WONDERSTRUCK: CENTERPIECE OF NYFF55

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES TODD HAYNES’S WONDERSTRUCK AS CENTERPIECE OF THE 55th NEW YORK FILM FESTIVAL 


                                                                                                                                          Courtesy of Amazon Studios / Mary Cybulski

New York, NY (July 6, 2017) – The Film Society of Lincoln Center announces Todd Haynes’s Wonderstruck as the Centerpiece selection of the 55th New York Film Festival (September 28 – October 15), making its New York Premiere at Alice Tully Hall on Saturday, October 7. The film will be released theatrically by Amazon Studios and Roadside Attractions on October 20, 2017.

In 1977, following the death of his single mother, Ben (Oakes Fegley) loses his hearing in a freak accident and makes his way from Minnesota to New York, hoping to learn about the father he has never met. A half-century earlier, another deaf 12-year-old, Rose (Millicent Simmonds), flees her restrictive Hoboken home, captivated by the bustle and romance of the nearby big city. Each of these parallel adventures, unfolding largely without dialogue, is an exuberant love letter to a bygone era of New York. The mystery of how they ultimately converge, which involves Julianne Moore in a lovely dual role, provides the film’s emotional core. Adapted from a young-adult novel by TheInvention of Hugo Cabret author Brian Selznick, Wonderstruck is an all-ages enchantment, entirely true to director Todd Haynes’s sensibility: an intelligent, deeply personal, and lovingly intricate tribute to the power of obsession.

New York Film Festival Director and Selection Committee Chair Kent Jones said, “Todd Haynes and Brian Selznick have pulled off something truly remarkable here—a powerful evocation of childhood, with all of its mysteries and terrors and flights of imagination and longings; richly textured re-creations of Manhattan in the ’20s and the ’70s; and a magical and intricately plotted quest story that builds to a beautiful climax. Wonderstruck is fun, emotionally potent, and . . . it’s a great New York movie.”

“We’re so pleased and proud that Wonderstruck has been selected for the Centerpiece slot at this year’s New York Film Festival,” said Haynes. “There’s no more meaningful place or audience with which to share our film that is a tribute both to the history of New York City and to cinema.”

The New York Film Festival has showcased Haynes’s work on three other occasions: Velvet Goldmine in 1998, I’m Not There in 2007, and, most recently, Carol in 2015.

The 18-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; and Amy Taubin, Contributing Editor, Film Comment and Sight & Sound.

Earlier this summer, NYFF announced Richard Linklater’s Last Flag Flying as the Opening Night selection.

Tickets for the 55th New York Film Festival will go on sale September 10. VIP passes and packages are on sale now and offer one of the earliest opportunities to purchase tickets and secure seats at some of the festival’s biggest events, including the just-announced Centerpiece.

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 Shutterstock, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center.

Support for the New York Film Festival is generously provided by Official Partner HBO®, Benefactor Partners Dolby, illy caffé and The Village Voice, Hospitality Partners Loews Regency New York and RowNYC, and Supporting Partner Manhattan Portage. Deadline Hollywood, The Hollywood Reporter, WABC-7, and WNET New York Public Media serve as Media Sponsors.

For more information, visit www.filmlinc.org and follow @filmlinc on Twitter. For media specific inquiries regarding the Film Society of Lincoln Center, please contact:

June 14, 2017

FSLC: SCARY MOVIES — JULY 14-20

  

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES
 SCARY MOVIES X — JULY 14-20

Opens with Damien Leone’s Terrifier and closes with Brandon Christensen’s Still/Born and Colin Minahan’s It Stains the Sand Red
 
Festival returns with two North American Premieres, one U.S. Premiere, and seven New York Premieres
10th anniversary celebrations include throwback party-themed slasher movies, a “Cake, Clowns & Corpses” soiree, plus Bob Balaban in person with his rarely screened horror comedies

 Terrifier

New York, NY (June 14, 2017) – The Film Society of Lincoln Center presents Scary Movies X, the eagerly awaited return of New York’s top horror festival, July 14-20.

Scary Movies X brings the genre’s best from around the globe to FSLC, featuring an exhilarating week of terrifying and gruesome shockers, a host of hair-raising premieres and rediscoveries, and guest appearances and giveaways.

Opening Night is the New York Premiere of Damien Leone’s aptly named Terrifier, the follow-up to his earlier All Hallow’s Eve, which finds creepy cult killer Art the Clown back on the prowl. The screening will be followed by the fest’s “Cake, Clowns & Corpses”–themed 10th birthday party. Scary Movies X closes with a double dose of dread: the New York premieres of Brandon Christensen’s Overlook Film Festival prizewinner Still/Born, serving up heaps of new mommy trauma; and Colin Minahan’s It Stains the Sand Red, an inventive zombie picture set in the blistering desert.

Other highlights include Damien Powers’s Killing Ground, a “straight-up, stripped-down suspenser” (Variety) about a camping trip gone wrong in the Australian bush; Caught, Jamie Patterson’s subtle, otherworldly home-invasion pic starring Mickey Sumner; Pavan Kirpalani’s Hindi head-trip Phobia; and Daniel Castro Zimbrón’s The Darkness, a highly atmospheric post-apocaylptic thriller lensed by Diego García (Neon Bull, Cemetery of Splendor). 

Continuing the fest’s 10th anniversary celebrations are a quartet of delightfully nasty party-themed flicks from the 1970s and ’80s: Ed Hunt’s Bloody Birthday, George McCowan’s Frogs, J. Lee Thompson’s Happy Birthday to Me, and William Fruet’s Killer Party.And to top it all off, Scary Movies X presents an evening with comedy legend and horror maestro Bob Balaban in person, featuring screenings of his Parents and My Boyfriend’s Back, both films ripe for rediscovery.

Tickets for Scary Movies X go on sale June 29. Tickets are $14; $11 for students and seniors (62+); and $9 for Film Society members. See more and save with a 3+ film discount package or $125 All Access Pass. Learn more at filmlinc.org.

Programmed by Laura Kern and Rufus de Rham. Scary Movies X is sponsored by IFC Midnight.

FILMS & DESCRIPTIONS
All films screen digitally at the Walter Reade Theater unless otherwise noted.

Opening Night
Terrifier
Damien Leone, USA, 2016, 82m
Coulrophobics beware! It’s Halloween night and Art the Clown, the cold-blooded killer who also stalked Damien Leone’s previous short of the same name and his 2013 omnibus feature All Hallow’s Eve, is not wearing a creepy costume just for show. He’s as evil as he looks—seriously, the scariest clown to ever hit movie screens—and, after an evening of partying, two young women unluckily enter his sights. At first they’re mildly amused by his presence (the ditzier of the two even dares take a selfie with him), but soon they understand the true danger he presents, as he proceeds to terrorize them, as well as anyone else who crosses his path. Lean and oh so mean, Terrifier is grittier, and more jarringly depraved, than most horror movies these days, oozing ’80s slasher–style gore. New York Premiere
Friday, July 14, 7:30pm (Q&A with Damien Leone)

Closing Night
Still/Born
Brandon Christensen, Canada, 2017, 84m
Young couple Mary and Jack are about to become proud first-time parents to a set of twins. But something goes wrong in the delivery room and only one baby makes it out alive. Mary, feeling somewhat displaced, living in a new home and neighborhood, begins to exhibit paranoid tendencies—is she dealing with postpartum depression or are demons in fact trying to steal her newborn as she vigorously claims? Winner of a special jury prize for “scariest film” at the recent inaugural edition of the Overlook Film Festival and co-produced and -written by Colin Minahan, director of the other closing-night selection, It Stains the Sand Red, the film is indeed chockful of frights. And as everything continues to spiral further out of control, Still/Born stays grounded thanks to the intense, dedicated performance of Christie Burke as the mother who means business in keeping her baby safe no matter what forces are against her. New York Premiere
Thursday, July 20, 7:00pm

Closing Night
It Stains the Sand Red
Colin Minahan, USA, 2016, 92m
The solo feature directorial debut of Colin Minahan, one half of the Vicious Brothers (Grave Encounters, Extraterrestrial), makes his strongest impression yet with this engaging, visually striking film, set during apocalyptic times, about a woman, Molly (a fearless Brittany Allen), who finds herself stranded in the desert after her dumbass boyfriend is killed by a zombie. As she’s pursued by the threatening yet slow-moving creature, who relentlessly trails her close behind, the film becomes something of a character study of victims, both monster and human—a zombie humanized with a happy past, and a woman desensitized by a more troubled one. The mortals that pop up in the story, as per usual, are often just as bad as the monsters; Molly herself is flawed, a drug addict who has abandoned her young daughter, but who throughout a series of terrible incidents remains strong because hardship is nothing new for her. A Dark Sky Films release. New York Premiere
Thursday, July 20, 9:30pm (Q&A with Colin Minahan and Brittany Allen)

Better Watch Out
Chris Peckover, USA/Australia, 2016, 89m
Encompassing three great traditions of horror—the Christmas, home-invasion, and babysitting subgenres—Better Watch Out is a twisted and twisty mash-up of dark delights as filtered through the lens of an ’80s teen comedy. Cheeky 12-year-old Luke (Levi Miller) has long crushed on his super-cute, and of course already taken, babysitter Ashley (Olivia DeJonge) and decides that while under her watch on Christmas Eve he will finally make his move. But the big night is disrupted by the arrival of a menacing masked intruder, setting the scene for a chain reaction of progressively disturbing events. Virginia Madsen and Patrick Warburton appear as Luke’s parents, who, along with audiences, are in for a truly chilling holiday surprise. A Well Go USA release. New York Premiere
Tuesday, July 18, 7:00pm

Bloody Birthday
Ed Hunt, USA, 1981, 85m
“Just because you all have the same birthday doesn’t mean you’re special,” a teacher informs tight-knit trio Steven, Curtis, and Debbie as they turn 10. She’s right—it’s that their simultaneous births in 1970 Southern California occurred during a solar eclipse that makes their situation out of the ordinary. Apparently, Saturn, which is known to control the emotions, was blocked, leaving the astrologically ill-timed children cold-hearted. And, for some unexplained reason, a decade into their lives, the little maniacs set out to wreak some bloody havoc, sparing no one, not even their own families, in their murder spree, on which they put to use a wide array of weapons, including guns, ropes, cars, and arrows. With inspired direction, loads of nudity, and a moody score, this is pure ’80s trash cinema, and evil-kid horror, at its finest.
Saturday, July 15, 3:15pm

Caught
Jamie Patterson, UK, 2017, 85m
One afternoon, married journalists Julie and Andrew (Mickey Sumner and Ruben Crow) residing in the remote English countryside are paid a visit by an impeccably styled couple, whose odd manner of communication suggest there’s a disconnect, to say the least. Roles are reversed—the journalists become the interview subjects as they are questioned about their current research—and it begins to look like they may have stumbled upon something sinister. The behavior of the unwelcome guests (played perfectly by Cian Barry and April Pearson) becomes increasingly bizarre, and that Julie and Andrew have a tiny baby at home and a young son due back from school any moment only adds to the tension. Like its title, so succinct, even generic, until its meaning is put into clearer focus, Caught is a stellar example of what can be accomplished with little means but a whole lot of imagination, while also reminding us that it’s often the unknown that can be the most terrifying. North American Premiere
Sunday, July 16, 7:00pm

The Darkness / Las tinieblas
Daniel Castro Zimbrón, Mexico/France, 2016, 94m
After a mysterious apocalypse, Gustavo (Brontis Jodorowsky, who channels an intensity worthy of his family name) is left to care for his two sons, adult Marcos and teenage Argel, and his sickly young daughter, Luciana. The family has made their stand in a cabin in the woods, bathed in an eternal twilight and perpetually surrounded by toxic fog that may hide monsters. Gustavo keeps the children locked in the basement for their safety, but when early in the film he and Marcos venture outside to hunt for food, Marcos didn’t come back—and Argel is left to discover the secrets that his father and the woods are hiding. Claustrophobic, and exquisitely shot by Diego García (Neon Bull, Cemetery of Splendor), The Darkness transcends the horror tropes it gets its bones from, and becomes something beautiful, fantastical, and truly unnerving. New York Premiere
Sunday, July 16, 5:00pm

An Evening with Bob Balaban
Parents
Bob Balaban, Canada/USA, 1989, 35mm, 82m
As supremely black as a comedy can be, Bob Balaban’s brilliantly subversive feature directorial debut is deranged in all the right ways. Ten-year-old Michael, a socially awkward only child living in 1950s suburbia with his doting mom and emotionally abusive dad (Mary Beth Hurt and Randy Quaid, both great), is plagued by bizarre nightmares—which are about as terrifying as his reality: he suspects his picture-perfect parents to be cannibalistic, while not having a taste for meat himself. Recently relocated to a new town, Michael finds comfort in school through an equally oddball friend, who claims she’s from the moon, while figuring out how to survive his home life, and more specifically mealtime. You’ll never think of “leftovers” in the same way.
Monday, July 17, 7:00pm (Q&A with Bob Balaban)

My Boyfriend’s Back
Bob Balaban, USA, 1993, 35mm, 85m
At the start of this horror-comedy for the highest of lowbrow tastes—produced by Sean S. Cunningham, written by Dean Lorey (who went on to Arrested Development), and directed by the great comic actor Bob Balaban—geeky teen protagonist Johnny Dingle (Andrew Lowery) announces in voiceover: “This day was the beginning of the end of my life.” And, yes, after a severely botched attempt to play hero for Missy (Traci Lind), the girl he has forever lusted after, he gets shot by a masked robber at the deli where she works, but not before making his dying request that she go to the prom with him. When she says yes, he will do whatever it takes to make that a reality—decomposing body be damned!—much to the annoyance of Missy’s jock boyfriend (Matthew Fox) and his bullyish sidekick (Philip Seymour Hoffman), who nicknames Johnny “Dead Boy.” Unfairly maligned by many, this film is a delight due for a serious revisiting.
Monday, July 17, 9:30pm (Introduction by Bob Balaban)

Frogs
George McCowan, USA, 1972, 35mm, 90m
It’s Jason Crockett’s birthday weekend and a group of family members have assembled on his Florida island plantation to celebrate. Environmentally unfriendly, the cranky, wheelchair-bound old man (Ray Milland) finds the growing masses of frogs inhabiting his space to be a menace and has no second thoughts about poisoning the waters to get rid of them. So when “nature” begins taking revenge, it’s easy to root against “man,” even if Crockett’s guests, as well as a photographer researching the area (played by a totally hunky Sam Elliott, in one of his first screen appearances), are unfairly caught in the path of destruction. Despite the film’s ludicrously misleading title—the killer creatures featured actually encompass a wide range from mainly toads to snakes, turtles, spiders, gators, and beyond—the gloriously campy B-movie provides a darn good creepy-crawly time.
Sunday, July 16, 1:00pm

Happy Birthday to Me
J. Lee Thompson, Canada, 1981, 35mm, 111m
Recovering from a highly traumatic event that took place around the time of her birthday many years past, pretty and popular Virginia (Melissa Sue Anderson) appears to have made some real progress. But as she approaches her 18th year, there’s a black-leather-gloved killer on the loose, knocking off her elite-private-school friends, which brings her stability into question. Giallo-like in its plot convolutions as well as its stark, shadowy visual style, this rare foray into strict horror by dark crime thriller master J. Lee Thompson is perhaps best known for its infamous shish-kebab murder scene, but the underappreciated slasher film has much more to offer, with a whole slew of show-stopping death set pieces and a stellar supporting cast, including Glenn Ford as Virginia’s doctor.
Saturday, July 15, 1:00pm

Killer Party
William Fruet, USA/Canada, 1986, 35mm, 91m
In 1986, a pair of April Fool’s Day–themed horror-comedies opened in theaters. The wider release of the two, April Fool’s Day, was a hit and remains a genre favorite, while the other was overlooked and lives in semi-obscurity. But today, Killer Party looks better than ever. It kicks off with a clever, awesomely cheesy pre-credits prologue that sums up the ’80s in just under 10 minutes, before shifting the focus to a group of friends eager to join a sorority, who prepare for a raging initiation party at a long-off-limits—for good reason!—frat house. Twenty-four hours of gags, hazing rituals, and demonic possessions ensue in this genuine treat of a slasher film—no surprise coming from William Fruet, the director responsible for The House by the Lake, Spasms, and Funeral Home.
Sunday, July 16, 3:00pm

Killing Ground
Damien Power, Australia, 2016, 89m
The story starts like so many others: a couple are en route to a campsite. But unlike most survival thrillers, instead of the standard idiotic chatter, the relaxation-seekers here actually engage in intelligent conversation—revealing right away that this isn’t going to be the usual ride. On arrival, they find an eerily empty tent pitched nearby, its presence casting a dark shadow over their lovely spot as well as a sense of mystery about the whereabouts of its inhabitants. And as the action progresses, with an intriguing turn of the cinematic clock we begin to go back and forth in time so it can be revealed what happened to the other family—made up of a mom, dad, teenage daughter, and little baby. Expertly constructed and strongly acted—the two sadistic villains are truly skin-crawling and their prey authentic and sympathetic—Damien Power’s feature debut is at times excruciatingly cruel, yet always positively stunning. An IFC Midnight release.
Saturday, July 15, 7:15pm (Q&A with Damien Power)

The Limehouse Golem
Juan Carlos Medina, UK, 2016, 105m
In Victorian London, Scotland Yard inspector John Kildare (a great Bill Nighy, in a role originally meant for Alan Rickman, to whom the film is dedicated) takes a special interest in the well-being of Lizzie Cree (Olivia Cooke), a young stage performer accused of murdering her husband. She seems an unlikely killer and he becomes obsessed with proving her innocence, all while the title “monster” is leaving behind a string of mutilated corpses à la Jack the Ripper—a case that may just be connected to Lizzie’s. This jam-packed, handsome, highly literate film—adapted from Peter Ackroyd’s 1994 novel Dan Leno & the Limehouse Golem and featuring real-life historical figures (such as Karl Marx, novelist George Gissing, and theater actor Dan Leno) woven into the fictional narrative—satisfies as a gothic murder mystery and an inside look into the lively world of the music halls so popular at the time, while also offering its fair share of bloodletting. An RLJ Entertainment release. U.S. Premiere
Saturday, July 15, 5:00pm

The Night of the Virgin / La noche del virgen
Roberto San Sebastián, Spain, 2016, 117m
Spanish with English subtitles
Every developing boy has sex on the brain and his “first time” is a momentous occasion. So when a sexy older woman at a New Year’s Eve party shows interest in Nico, an awkward and unfortunate-looking late bloomer at 20, the offer to go home with her is one he can’t refuse. That her name is Medea is only the first of many red flags, and it becomes rapidly clear that Nico would have been way better off holding on to his virginity a bit longer. The insanity that unfolds that evening in Medea’s cockroach-infested apartment is better witnessed than described, because nobody would believe the half of it. Audacious, inventive (featuring some spectacular practical effects), sometimes hilarious and jaw-droppingly disgusting, and always totally bonkers, the film has more on its mind than pure gross-out—though it succeeds in that too. In any case, we promise you have never seen anything like it... New York Premiere
Tuesday, July 18, 9:00pm

Offensive
Jon Ford, UK, 2016, 105m
After his father passes away, Bernard (Russell Floyd) inherits a sprawling home in the French countryside—but on the condition that he and his wife Helen (Lisa Eichhorn) actually live there for a designated period of time. The retired urbanites decide that a more idyllic existence might do them some good, but sadly it’s not peace that awaits them, as a pack of barbaric local teens promptly begin tormenting them. With no one to turn to (the neighbors are all terrified and the cops corrupt) a war rages between the feral youth and the more civilized older folks as they’re pushed to their limits. Rough and raw (visually as well as thematically), the ultra-tense film is painfully cruel yet purely satisfying, and, with the introduction of some revelations about Bernard’s father, it also serves as an intriguing exploration of three generations of violence. New York Premiere
Sunday, July 16, 9:00pm

Phobia
Pavan Kirpalani, India, 2016, 111m
Hindi with English subtitles
Mehak (Radhika Apte) is a talented, vivacious painter, but after a horrific attack she becomes afflicted with post-traumatic agoraphobia. Her condition overwhelms her sister Anusha’s hospitality and sympathy when it starts affecting her young nephew, and she soon finds herself living alone in an apartment lent to her by an old friend. She’s too afraid to even approach the door and unwilling to accept anyone’s offers for help, while strange neighbors and even stranger images begin to appear before her. And as the hallucinations become increasingly violent, she falls deeper and deeper into madness. Or is she in fact haunted? Are those severed fingers real? Phobia is the strongest Hindi horror outing in ages, anchored by a fiery performance by Apte, who absolutely rivets the screen. North American Premiere
Saturday, July 15, 9:30pm

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 The New York Times, Shutterstock, Variety, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center. For more information, visit www.filmlinc.org and follow @filmlinc on Twitter.

June 12, 2017

RICHARD LINKLATER'S 'LAST FLAG FLYING' TO OPEN NEW YORK FILM FESTIVAL

 

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES WORLD PREMIERE OF RICHARD LINKLATER’S
LAST FLAG FLYING AS OPENING NIGHT OF THE 55th NEW YORK FILM FESTIVAL
Courtesy Amazon Studios / Wilson Webb

New York, NY (June 12, 2017) – The Film Society of Lincoln Center announces Richard Linklater’s Last Flag Flying as the Opening Night selection of the 55th New York Film Festival (September 28 – October 15), making its World Premiere at Alice Tully Hall on Thursday, September 28. The film will open theatrically on November 17, 2017 from Amazon Studios.

In Richard Linklater’s lyrical road movie, as funny as it is heartbreaking, three aging Vietnam-era Navy vets—soft-spoken Doc (Steve Carell), unhinged and unfiltered Sal (Bryan Cranston), and quietly measured Mueller (Laurence Fishburne)—reunite to perform a sacred task: the proper burial of Doc’s only child, who has been killed in the early days of the Iraqi Invasion. As this trio of old friends makes its way up the Eastern seaboard, Linklater gives us a rich rendering of friendship, a grand mosaic of common life in the USA during the Bush era, and a striking meditation on the passage of time and the nature of truth. To put it simply, Last Flag Flying is a great movie from one of America’s finest filmmakers.

New York Film Festival Director and Selection Committee Chair Kent Jones said, “Last Flag Flying is many things at once—infectiously funny, quietly shattering, celebratory, mournful, meditative, intimate, expansive, vastly entertaining, and all-American in the very best sense. But to isolate its individual qualities is to set aside the most important and precious fact about this movie: that it all flows like a river. That’s only possible with remarkable artists like Steve Carell, Laurence Fishburne, and Bryan Cranston, and a master like Richard Linklater behind the camera.”

"It’s always special to be at the New York Film Festival, but to be premiering our movie on opening night, when you look at the half century of films that have occupied that slot, is a wonderful honor," says Linklater.  

The 18-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; and Amy Taubin, Contributing Editor, Film Comment and Sight & Sound.

Tickets for the 55th New York Film Festival will go on sale September 10. VIP passes and packages are on sale now and offer one of the earliest opportunities to purchase tickets and secure seats at some of the festival's biggest events, including the just-announced Opening Night. Purchase by June 25th and save $50 on all packages. Learn more at filmlinc.org/packages.

NYFF55 Press Accreditation will open at the end of June. Check filmlinc.org/press for updates.

New York Film Festival Opening Night Films

2016    13TH (Ava DuVernay, US)
2015    The Walk (Robert Zemeckis, US)
2014    Gone Girl (David Fincher, US)
2013    Captain Phillips (Paul Greengrass, US)
2012    Life of Pi (Ang Lee, US)
2011    Carnage (Roman Polanski, France/Poland)
2010    The Social Network (David Fincher, US)
2009    Wild Grass (Alain Resnais, France)
2008    The Class (Laurent Cantet, France)
2007    The Darjeeling Limited (Wes Anderson, US)
2006    The Queen (Stephen Frears, UK)
2005    Good Night, and Good Luck. (George Clooney, US)
2004    Look at Me (Agnès Jaoui, France)
2003    Mystic River (Clint Eastwood, US)
2002    About Schmidt (Alexander Payne, US)
2001    Va savoir (Jacques Rivette, France)
2000    Dancer in the Dark (Lars von Trier, Denmark)
1999    All About My Mother (Pedro Almodóvar, Spain)
1998    Celebrity (Woody Allen, US)
1997    The Ice Storm (Ang Lee, US)
1996    Secrets & Lies (Mike Leigh, UK)
1995    Shanghai Triad (Zhang Yimou, China)
1994    Pulp Fiction (Quentin Tarantino, US)
1993    Short Cuts (Robert Altman, US)
1992    Olivier Olivier (Agnieszka Holland, France)
1991    The Double Life of Veronique (Krzysztof Kieslowski, Poland/France)
1990    Miller's Crossing (Joel Coen, US)
1989    Too Beautiful for You (Bertrand Blier, France)
1988    Women on the Verge of a Nervous Breakdown (Pedro Almodóvar, Spain)
1987    Dark Eyes (Nikita Mikhalkov, Soviet Union)
1986    Down by Law (Jim Jarmusch, US)
1985    Ran (Akira Kurosawa, Japan)
1984    Country (Richard Pearce, US)
1983    The Big Chill (Lawrence Kasdan, US)
1982    Veronika Voss (Rainer Werner Fassbinder, West Germany)
1981    Chariots of Fire (Hugh Hudson, UK)
1980    Melvin and Howard (Jonathan Demme, US)
1979    Luna (Bernardo Bertolucci, Italy/US)
1978    A Wedding (Robert Altman, US)
1977    One Sings, the Other Doesn’t (Agnès Varda, France)
1976    Small Change (François Truffaut, France)
1975    Conversation Piece (Luchino Visconti, Italy)
1974    Don’t Cry with Your Mouth Full (Pascal Thomas, France)
1973    Day for Night (François Truffaut, France)
1972    Chloe in the Afternoon (Eric Rohmer, France)
1971    The Debut (Gleb Panfilov, Soviet Union)
1970    The Wild Child (François Truffaut, France)
1969    Bob & Carol & Ted & Alice (Paul Mazursky, US)
1968    Capricious Summer (Jiri Menzel, Czechoslovakia)
1967    The Battle of Algiers (Gillo Pontecorvo, Italy/Algeria)
1966    Loves of a Blonde (Milos Forman, Czechoslovakia)
1965    Alphaville (Jean-Luc Godard, France)
1964    Hamlet (Grigori Kozintsev, USSR)
1963    The Exterminating Angel (Luis Buñuel, Mexico)

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 Shutterstock, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center.

Support for the New York Film Festival is generously provided by Official Partner HBO®, Benefactor Partners Dolby and illy caffé, Hospitality Partners Loews Regency New York and RowNYC, and Supporting Partner Manhattan Portage. WNET New York Public Media serves as Media Sponsor.

For more information, visit www.filmlinc.org and follow @filmlinc on Twitter. For media specific inquiries regarding the Film Society of Lincoln Center, please contact: 

April 18, 2017

LAURA POITRAS'S RISK PREMIERES ON MAY 2

  

LAURA POITRAS’S RISK WILL HAVE ITS NORTH AMERICAN PREMIERE AS THE CLOSING NIGHT FILM OF ART OF THE REAL FESTIVAL ON MAY 2

Laura Poitras Q&A to follow screening


New York, NY (April 18, 2017) – The Film Society of Lincoln Center announced today that Laura Poitras’s Risk will have its North American premiere as the Closing Night selection of Art of the Real, FSLC’s essential showcase for boundary-pushing nonfiction film, on May 2. The festival opens this Thursday, April 20, with Theo Anthony’s Rat Film; the complete lineup, featuring an eclectic, globe-spanning host of premieres and discoveries, can be found here

After laying bare Edward Snowden the man and the myth in her Oscar-winning Citizenfour, Laura Poitras returns to the knotty territory of political truth-telling and international espionage with this years-in-the-making portrait of controversial WikiLeaks founder Julian Assange. A hero to some, a pariah to others, Assange comes across in this compelling documentary as guarded and inscrutable despite his crusade for complete transparency. Not interested in painting a simple portrait of one man fighting the system, Poitras traces his journey from 2011 all the way through this year’s election, finally admitting in voiceover: “This is not the film I thought I was making.” Significantly updated since its Cannes premiere last May, Risk is a film about principles, power, and human contradiction, and is not to be missed. Poitras will also appear in person for a post-screening discussion. 

NEON will release the film theatrically nationwide on May 5th. Risk is Executive Produced by Sam Esmail, creator of Mr. Robot.

Tickets for Risk are $20; $15 for students, seniors, and members. Learn more, and buy tickets now, at filmlinc.org.

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 Commentthe 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 The New York Times, Shutterstock, Variety, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center. For more information, visit www.filmlinc.org and follow @filmlinc on Twitter.

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