1712 posts categorized "Film"

June 19, 2017




DUAN Yihong and GANG Dong-won to receive Star Asia Award, Jung Byung-gil to receive Excellence in Action Cinema award, and Eric TSANG to now receive Lifetime Achievement Award

New York, NY (June 19, 2017) – The Film Society of Lincoln Center and Subway Cinema announced today updated awardees and special guests for the 16th New York Asian Film Festival (NYAFF), which will take place from June 30 to July 13 at the Film Society and July 14 to 16 at the SVA Theatre.

The festival will present five awards, including the Star Hong Kong Lifetime Achievement Award to Eric Tsang, two Star Asia Awards, the Screen International Rising Star Award to Thailand’s Chutimon “Aokbab” Chuengcharoensukying as announced on June 5, and the Daniel E. Craft Award for Excellence in Action Cinema to South Korea’s Jung Byung-gil.

They are among 30 guests attending this year’s festival. The complete list of guests can be found below.

In addition to the previously announced Gang Dong-won, China’s Duan Yihong will be awarded the Star Asia Award at the 16th New York Asian Film Festival on 1st July 2017. It is in recognition for his entire body of work. It will be presented in person to the actor before screenings of Extraordinary Mission and Battle of Memories at the Film Society of Lincoln Center.

This is the first time that a Star Asia Award has been presented to an actor from China. Previous recipients include Donnie Yen, Miriam Yeung and South Korea’s Lee Byung-hun. The festival’s Screen International Rising Star Asia Award recognizing new talent has previously been presented to two actors from China, Huang Bo in 2010 and Jelly Lin in 2016.

“We’re honored to give one of our top awards to Duan Yihong, who we regard as one of China’s greatest modern actors,” said Samuel Jamier, the festival’s executive director. “The cinema of China is now central to our lineup, in recognition that it is not only at the forefront of genre cinema in Asia, but is also making the most perceptive, honest films about human relationships.”

Chinese-language films in this year’s selection include Yang Shupeng’s Blood of Youth, Han Han’s Duckweed, Liu Yulin’s Someone to Talk To, Zhang Yang’s Soul on a String, Leste Chen’s Battle of Memories and Extraordinary Mission, directed by Alan Mak and Anthony Pun. They are co-presented with Confucius Institute Headquarters and China Institute.

Also newly announced today is the Excellence in Action Cinema Award to South Korea’s Jung Byung-gil. The maverick director is a former guest of the festival in 2008 when he attended the international premiere of his debut feature Action Boys. He returns to New York almost a decade later with his reinvention of action cinema, The Villainess, which will be the closing film.

The NYAFF is also excited to announce that we are now honoring the great Eric Tsang with the Lifetime Achievement Award. This is a change from the previously announced awardee Tony Leung Ka-fai, who is unfortunately no longer able to attend the festival due to extenuating circumstances. Tsang is the perfect choice in a year in which we are championing first-time filmmakers from Hong Kong. Although best known as an actor, Tsang’s most vital contribution to Greater China cinema is as an investor, producer and supporter of new directors. The festival is showing his new film Mad World by first-time director Wong Chun, also attending.

The festival will screen 57 feature films over 17 days. The festival opens on 30 June with the international premiere of Thai high-school thriller Bad Genius and closes on 16 July with the U.S. premiere of South Korean revenge thriller The Villainess. The festival’s centerpiece gala is Mikhail Red’s ecological thriller Birdshot from the Philippines.

The festival this year launches its competition for first- and second-time directors whose films are receiving their North American premiere at the festival. The seven films competing are Bad Genius (Thailand), Birdshot (Philippines), A Double Life (Japan), Jane (South Korea), Kfc (Vietnam), and With Prisoners(Hong Kong).

The New York Asian Film Festival is curated by executive director Samuel Jamier, deputy director Stephen Cremin, and programmers Claire Marty and David Wilentz. It is co-presented by Subway Cinema Inc and the Film Society of Lincoln Center. The festival is held at Film Society of Lincoln Center (30 June to 13 July 2017) and SVA Theater (14 July to 16 July 2017).

Yang Shupeng 楊樹鵬, director (BLOOD OF YOUTH)

Florence Chan 陳楚珩, screenwriter (MAD WORLD)
Derek Hui 許宏宇, director (THIS IS NOT WHAT I EXPECTED)
Lawrence Lau 劉國昌, director (DEALER HEALER)
Heiward Mak 麦曦茵, producer (MAD WORLD)
Wong Chun 黃進, director (MAD WORLD)

Kei Ishikawa 石川慶, director (TRACES OF SIN)
Yuki Mamiya 間宮夕貴, actress (WET WOMAN IN THE WIND)
Naoko Ogigami 荻上直子, director (CLOSE-KNIT)
Akihiko Shiota 塩田明彥, director (WET WOMAN IN THE WIND)

Mikhail Red, director (BIRDSHOT)

Cho Hyun-hoon 조현훈, director (JANE)
Gu Gyo-hwan 구교환, actor (JANE)
Han Ye-ri 한예리, actress (A QUIET DREAM)
Jang Sung-gun 장성건, musician (BAMSEOM PIRATES SEOUL INFERNO)
Jung Yoon-suk 정윤석, director (BAMSEOM PIRATES SEOUL INFERNO)
Kwon Yong-man권용만, musician (BAMSEOM PIRATES SEOUL INFERNO)
Park Jung-eun박정근, producer (BAMSEOM PIRATES SEOUL INFERNO)
Lee Min-ji이민지, actress (JANE)
Zhang Lu장률, director (A QUIET DREAM) 


    Chen Mei-juin 陳玫君, director (THE GANGSTER'S DAUGHTER)


    Chutimon "Aokbab" Chuengcharoensukying ชุติมณฑน์จึงเจริญสุขยิ่ง (BAD GENIUS) – SCREEN      INTERNATIONAL RISING STAR ASIA AWARD
Nattawut "Baz" Poonpiriya นัฐวุฒิพูนพิริยะ, director (BAD GENIUS)
Chanon Santinatornkul ชานนสันตินธรกุล, actor (BAD GENIUS)

Keep up to date with information at www.filmlinc.org and www.subwaycinema.com. Subway Cinema can be followed on Facebook at www.facebook.com/nyaff and Twitter at www.twitter.com/subwaycinema.

June 14, 2017




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


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.

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

Opening Night
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
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

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
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)

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

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

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

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



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)

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: 

June 06, 2017


June 5, 2017

FilmStruck Now Available on Roku Platform

FilmStruck, the largest streaming library of contemporary and classic arthouse, indie, foreign and cult films and the exclusive streaming home to the Criterion Collection, is now available on Roku® devices. FilmStruck's impressive library features a deep roster of constantly refreshed films from major Hollywood studios and celebrated indie studios and include award-winning titles such as Babette's Feast, Blow Out, Boyhood, Breaker Morant, Chicago, A Hard Day's Night, My Life as a Dog, Our Song, The Player, A Room with a View, Seven Samurai, The Seventh Seal, Thelma & Louise, The Times of Harvey Milk and The Umbrellas of Cherbourg. FilmStruck offers cinephiles a fully curated streaming experience including archival footage, audio commentaries, original film trailers and filmmaker interviews.

FilmStruck is also available for streaming on Google Chromecast second generation and Chromecast Ultra devices, Apple TV 4th generation devices, Amazon Fire TV, web, iOS and Android devices

Roku is a registered trademark of Roku, Inc. in the U.S. and in other countries. 

About FilmStruck

FilmStruck is a new subscription on-demand service that offers film aficionados a comprehensive library of films including an eclectic mix of contemporary and classic art house, indie, foreign and cult films. Developed and managed by Turner Classic Movies (TCM) in collaboration with the Criterion Collection, FilmStruck will be the new exclusive streaming home for the critically acclaimed and award-winning Criterion Collection, including the Criterion Channel, a new premium service programmed and curated by the Criterion team.  FilmStruck is Turner's first domestic direct-to-consumer offering launched in November 2016.

May 28, 2017


Palme d%22or


Ruben Östlund


Palme d’Or: “The Square” (Ruben Östlund)

Special Prize: Nicole Kidman

Grand Prix: “BPM (Beats Per Minute)” (Robin Campillo)

Director: Sofia Coppola, “The Beguiled”

Actor: Joaquin Phoenix, “You Were Never Really Here”

Actress: Diane Kruger, “In the Fade”

Jury Prize: “Loveless” (Andrey Zvyagintsev)

Yorgos Lanthimos


Screenplay — TIE: “The Killing of a Sacred Deer” (Yorgos Lanthimos, Efthimis Filippou) and “You Were Never Really Here” (Lynne Ramsay)


Camera d’Or: “Jeune femme” (Montparnasse-Bienvenüe) (Léonor Serraille)

Short Films Palme d’Or: “Xiao Cheng Er Yue” (Qiu Yang)

Short Films Special Mention: “Katto” (Teppo Airaksinen)

Golden Eye Documentary Prize: “Faces Places” (Visages Villages) (Agnès Varda, JR)

Ecumenical Jury Prize: “Radiance” (Naomi Kawase)


Un Certain Regard Award: “A Man of Integrity,” Mohammad Rasoulof

Best Director: Taylor Sheridan, “Wind River”

Jury Prize: Michel Franco, “April’s Daughter”

Best Performance: Jasmine Trinca, “Fortunata”

Award for Poetry of Cinema: Mathieu Amalric, “Barbara”



Art Cinema Award: “The Rider” (Chloe Zhao)

Society of Dramatic Authors and Composers Prize — TIE: “Lover for a Day” (Philippe Garrel) and “Let the Sunshine In” (Claire Denis)

Europa Cinemas Label: “A Ciambra” (Jonas Carpignano)



Grand Prize: “Makala” (Emmanuel Gras)

Visionary Prize: “Gabriel and the Mountain” (Fellipe Barbosa)

Society of Dramatic Authors and Composers Prize: “Ava” (Léa Mysius)



Competition: “BPM (Beats Per Minute)”

Un Certain Regard: “Closeness” (Kantemir Balagov)

Directors’ Fortnight: “The Nothing Factory” (Pedro Pinho)

May 26, 2017

The Winners of the 20th Cinéfondation Selection

The winners of the 20th Cinéfondation Selection

The winners of the 20th Cinéfondation Selection © Mathilde Petit / FDC

The Cinéfondation and Short Films Jury headed by Cristian Mungiu and including Clotilde Hesme, Athina Rachel Tsangari, Barry Jenkins and Eric Khoo, has awarded the 2017 Cinéfondation Prizes during a ceremony held in the Buñuel Theatre, followed by the screening of the winning films.
The Cinéfondation Selection consisted of 16 student films, chosen out of 2 600 entries coming from 626 film schools around the world.

First Prize

PAUL EST LÀ (Paul Is Here)
directed by Valentina MAUREL
INSAS, Belgium

Second Prize

directed by Bahram & Bahman ARK
Iranian National School of Cinema, Iran

Third Prize

directed by Tommaso USBERTI
La Fémis, France


The Cinéfondation allocates a €15,000 grant for the First Prize, €11,250 for the Second and €7,500 for the Third.
The winner of the First Prize is also guaranteed the presentation of his/her first feature film at the Festival de Cannes.

Rerun in Paris

The awarded films will be screened at the Cinéma du Panthéon on May 30th at 7 p.m.

All the films of the Cinéfondation selection will be screened at the Cinémathèque française on May 31st and June 1st.

May 24, 2017


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

May 20, 2017

WONDERSTRUCK: Press Conference — Cannes 2017

Todd Haynes's WONDERSTRUCK is on my list of Most Promising Films of 2017. The film's warm reception in Cannes is evident in the press conference, which you can watch here without having to get on a plane to France.

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May 03, 2017

Cannes Classics 2017: Program Announced


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Other events, other restored prints, other guests

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

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

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

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

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

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

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

Documentaries about Cinema

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

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

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

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

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

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

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