Monday, August 31, 2015
AN EVENING WITH ATHINA RACHEL TSANGARI 2015 NYFF FILMMAKER IN RESIDENCE
AN EVENING WITH
ATHINA RACHEL TSANGARI
2015 NYFF FILMMAKER IN RESIDENCE
PLUS A DOUBLE FEATURE OF HER FILMS
ATTENBERG &
THE SLOW BUSINESS OF GOING
SEPTEMBER 17
The Film Society of Lincoln Center will feature An Evening with Athina Rachel Tsangari on Thursday, September 17, including a conversation, and a double feature of Attenberg and The Slow Business of Going.
Greek writer-director Tsangari was recently selected as the 2015 Filmmaker in Residence for the upcoming 53rd New York Film Festival, a program co-created and sponsored by Jaeger-LeCoultre.
The dynamic and fearless filmmaker, at the crest of a new Greek wave in cinema, actually made her entrance into cinema through a happy accident while living in Austin, Texas, and studying film direction—with a small role in Richard Linklater’s landmark 1991 film,Slacker. Her relationship with Linklater continued when she served as co-producer and actress in 2013’s Before Midnight.
Tsangari will participate in a conversation about her career, during which she will introduce and discuss her widely lauded, one-of-a-kind sophomore feature Attenberg (2010), a New Directors/New Films selection in 2011. The conversation will be followed by a screening of her rarely seen The Slow Business of Going, a lo-fi sci-fi road movie listed in the 2002 Village Voice Critics’ Poll as one of the year’s “best first films.” It was her MFA thesis feature at the University of Texas at Austin.
Past participants of this third annual filmmaker residency in New York during the festival for a notable independent director were Lisandro Alonso (2014) and Andrea Arnold (2013).
During her residency in New York starting next month, Tsangari will be working on a screwball action-thriller called White Knuckles. Her newest feature, Chevalier, a buddy comedy that takes place on a luxury yacht astray on the Aegean Sea, recently had its world premiere at the Locarno Film Festival and will also be screening at the upcoming New York Film Festival.
Single screening tickets are $14; $11 for students and seniors (62+); and $9 for Film Society members, or take advantage of the Double Feature package and save.
For more information visit
FILMS, DESCRIPTIONS & SCHEDULE
Attenberg
Athina Rachel Tsangari, Greece, 2010, 35mm, 95m
Greek and French with English subtitles
In its irreverent use of (new) Nouvelle Vague, musical, melodrama, and nature documentary, Attenberg symbolically visualizes a change in generation and perspective as a father and daughter gently negotiate their individual rites of passage. The film follows a visionary architect who has come home to die in the vanishing industrial town that is his legacy to his daughter. Meanwhile, his daughter (played by Ariane Labed, in a performance that won her the Best Actress award at the Venice Film Festival) is exploring the mysteries of kissing with her girlfriend, and the beyond with a visiting engineer. Tsangari’s film—with a soundtrack featuring Françoise Hardy and Suicide—is poised between sincerity and hilarity, tradition and experimentation. A New Directors/New Films 2011 selection.
Thursday, September 17, 6:30pm (Q&A with Athina Rachel Tsangari)
Followed by:
The Slow Business of Going
Athina Rachel Tsangari, USA/Greece, 2001, 35mm, 101m
William Gibson meets Samuel Beckett in Tsangari’s feature directorial debut, an exhilarating, shape-shifting work set mostly in the indeterminate spaces of hotel rooms and aboard a barge in Texas, as Global Nomad Project representative Petra Going (Lizzie Curry Martinez) travels the world, generating and transmitting memories back to the Experience Data Agency. Audaciously stylized and charming in its singular brand of lo-fi sci-fi, The Slow Business of Going radically changes forms (and, frequently, formats) with each strange situation Petra finds herself in. The result is a fast and funny ode to life without a home base and a stimulating exploration of human consciousness between the real and the virtual.
Thursday, September 17, 9:00pm (Introduction by Athina Rachel Tsangari)
For more stories from QPORIT about the New York Film Festival 2015, please see
NYFF 2015 - OVERVIEW
Labels: Athina Rachel Tsangari, ATTENBERG, NYFF 2015, The New York Film Festival, THE SLOW BUSINESS OF GOING
Tuesday, August 18, 2015
CONVERGENCE WEEKEND AT NYFF 2015
THE FILM SOCIETY OF LINCOLN CENTER
53rd NEW YORK FILM FESTIVAL 2015
September 25 – October 11
CONVERGENCE
Sep 26-27
Highlights include
The World Premiere of The Deeper They Bury Me,
which plunges users into solitary confinement
The Dog House’s Virtual-Reality Dinner Party
(Dis)Honesty Project’s traveling story booth
The Truth Box
Talks and Panels with
Lucasfilm’s Diana Williams, Pixar’s Mike Jones,
NPR’s Bob Garfield
And more…
CONVERGENCE will take place on September 26 and 27. The program delves into the world of immersive storytelling with a mix of unique films, panels, and live interactive experiences.
“This is our fourth year as part of the New York Film Festival and I couldn't be more excited about the lineup for 2015. There’s a lot of attention focused on virtual reality right now so we are really pleased to feature the U.S. premiere of The Dog House, a 360-degree film that’s going to start a lot of conversations.
"The program isn’t restricted to virtual worlds either, with several incredible live experiences like Temping, an immersive theater piece designed for one audience member at a time,” said NYFF Convergence programmer Matt Bolish. “The hope as always is to give our audience a chance to experience a wide variety of participatory storytelling projects.”
Audiences can explore a multitude of non-traditional film experiences, such as
playing a selection of indie storytelling games in the GameScape arcade, assuming the role of master detective Sherlock Holmes to help to solve a string of crimes around the Lincoln Center campus in Sherlock Holmes & the Internet of Things, or attending a performance of filmmaker/writer/singer Cory McAbee’s Small Star Seminar, an anti-motivational event featuring optimistic songs about quitting, accepting our limitations, and the power of sitting quietly. Immersive theater piece Temping, which will be showcased only a few times, will take lucky sole audience members on a strange and comedic journey.
Complementing the experiential programs is a series of talks and panels—all free and open to the public—featuring notable storytellers of all stripes (from Lucasfilm, StoryCode, Storyline Entertainment, Pixar, NPR, and more) discussing their work and the evolving state of storytelling in the interactive age.
The presentations will also include the World Premiere of the interactive presentation of The Deeper They Bury Me, which plunges audiences into the world of Herman Wallace, who was held in solitary for over 40 years at Louisiana’s notorious Angola penitentiary.
NYFF53 CONVERGENCE EVENTS AND DESCRIPTIONS
Experiences and Installations
The (Dis)Honesty Project Presents The Truth Box
Created by Dan Ariely & Yael Melamede
Step inside and tell us the truth… about a lie. The Truth Box is a traveling story booth and part of the larger (Dis)Honesty Project, a collaboration between behavioral scientist Dan Ariely and filmmaker Yael Melamede that aims to improve our behavior and ethics. The Truth Box explores the complex impact dishonesty has on our lives, asking participants to sit inside and come clean, on camera, about a lie they have told. Excerpts of stories recorded will be shared on http://thedishonestyproject.com and through social media.
The Doghouse
Created by Johan Knattrup Jensen, Mads Damsbo & Dark Matters
Few technologies have elicited as much debate as virtual reality. How will this powerful technology change the way we make and consume films? Audiences can get a taste of a possible future with The Doghouse. A table is set for five, and on each plate rests a virtual-reality headset. Slipping them on plunges the viewer into a fully immersive experience—one of five unique points of view within the same film. Mom and Dad are meeting the older brother’s new girlfriend for the first time while the younger brother just tries to avoid an inevitable disaster. This unique 360-degree cinema experience places its audience right in the middle of a home-cooked family drama and challenges our notions of what short films are… and what they may be in the very near future. U.S. Premiere
Gamescape
Human beings are hardwired to tell stories. We spin tales about everything in our lives from the mundane to the extraordinary. Some of the most compelling stories being told today are coming from game designers blending sharp narrative and gameplay in new and exciting ways. This selection of gripping, engaging, and even revolutionary independent storytelling games was co-curated by the NYU Game Center and is free and open to the public. Presented with Support from the NYU Game Center.
Sherlock Holmes & the Internet of Things
Created by Lance Weiler & Nick Fortugno
Step into the shoes of Sherlock Holmes for this collaborative storytelling experiment in which participants attempt to solve a string of crimes unfolding throughout Lincoln Center. Do you have what it takes to become a 21st-century Sherlock Holmes? A prototype developed and run by the Columbia Digital Storytelling Lab, Sherlock Holmes & the Internet of Things is part of a massive connected crime scene taking place in over 20 countries this fall. For more information, visit sherlockholmes.io. Presented in partnership with the Columbia Digital Storytelling Lab.
Temping
Created by Wolf 359; Directed by Michael Rau
Somewhere in a filing cabinet in Delaware or Indiana, there is a chart that breaks down how long we’re expected to live. Most of us will never see it… nor would we want to. But what if your job was to update these charts, to record the beginnings and ends of thousands of lives? What if you found the formula to predict your own lifespan? Sarah Jane Tully, a 50-year-old actuary, is taking her first vacation in years, and you’ve been hired to take her place. Temping, the strange and comic tale of an employee’s inner life written by Michael Yates Crowley, is performed for an audience of one by a Windows PC, a corporate phone, a laser printer, and the Microsoft Office Suite. Filling in at Sarah Jane’s cubicle, you’ll update client records, send e-mails, and eavesdrop on intra-office romance. Each performance is unique, depending on which tasks you accomplish and which of your co-workers you decide to trust. Congratulations, you’re the new temp! Get ready to work.
Panels and Presentations
Brand Meets Story: How Filmmakers and Brands Are Reinventing Digital Content (Panel)
Moderated by Bob Garfield
The digital-video era has opened up vast opportunities for audiences to enjoy powerful short-form content. Some brands have responded by recruiting professional filmmakers to work in the story-focused new arena of “content marketing.” Bob Garfield, Host of NPR’s “On The Media,” will moderate a discussion with Marjorie Schussel, Corporate Marketing Director for Toyota, along with Academy Award–nominated filmmakers Steve James ( Hoop Dreams) and Kief Davidson ( Open Heart) and Oscar winner Ross Kauffman ( Born into Brothels). They will discuss the partnership and process they established to develop a form of marketing that marries the freedom of creativity with meaningful brand communication goals in order to tell “stories that matter.” Includes World Premiere screenings of three compelling new short films, and a cocktail reception to follow.
A Conversation with Diana Williams (Talk)
Featuring Diana Williams (Lucasfilm, Roller Coaster Entertainment)
The camera opens on a field of stars before revealing a pair of spaceships locked in a deadly chase. Inside the pursued ship, a pair of iconic droids scuttle between rebel crewmen. “We’re doomed,” says C-3PO. “They’ll be no escape for the princess this time!” That exchange stuck with a young Diana Williams—what else had Princess Leia been up to?—and it set her on a course to become a storyteller in her own right. Williams has produced the acclaimed films Our Song and Another First Step; developed The Gatecrashers, a cross-platform storyworld, and Chinafornia, an animated Web series; and collaborated on motion comics for Torchwood, among others. In 2014, she joined the Lucasfilm Story Group, the team charged with developing narrative cohesion and connectivity within the Star Wars universe. Williams will take the stage to discuss her career and personal evolution as a storyteller, from feature filmmaker to cross-platform storyworld builder.
The Deeper They Bury Me (Interactive Presentation)
Written and directed by Angad Singh Bhalla & Ted Biggs; Produced by Anita Lee for the National Film Board of Canada, Storyline Entertainment
An interactive encounter with one of America’s most renowned political prisoners, The Deeper They Bury Me plunges users into the universe of Black Panther activist Herman Wallace, who was held in solitary for over 40 years at Louisiana’s notorious Angola penitentiary. Within the time allotted for a prison phone call—20 precious minutes—users navigate between his tiny cell and his dream of freedom, a fantasy home he envisions through a collaborative art project with artist Jackie Sumell. Sparse, poetic animation evokes his segregated New Orleans childhood and his courageous efforts to build community within a prison system that keeps over 2.3 million citizens behind bars. Join the creators of this compelling portrait of defiance for an immersive live presentation of the interactive experience and a panel discussion featuring leading activists and thinkers. World Premiere.
Immersive Storytelling Goes Global: A Live StoryCode Dispatch (Panel)
Moderated by Mike Knowlton (Co-founder, StoryCode)
StoryCode’s growth into six continents over the past three years has been fueled by an international appetite for new storytelling methods, tools, and experiments. Though still in its infancy, this worldwide phenomenon takes on myriad forms in each region it conquers. StoryCode chapter organizers will share happenings and breakthroughs around the country and the world, and discuss where we are headed in terms of emerging genres, cross-pollination of disciplines, technology, and artistic achievement. Panelists include Kel O’Neill (StoryCode LA), Diliana Alexander (StoryCode Miami), Michael Epstein (StoryCode San Francisco), and Kelli Anderson (StoryCode Washington DC).
The Making of a Connected Crime Scene (Talk)
Presented by Lance Weiler & Nick Fortugno
Join Lance Weiler and Nick Fortugno for a special collaborative think-and-do session. Over the course of 90 minutes, attendees will see and experience the inner workings of what it takes to build a massive collaborative effort like Sherlock Holmes & the Internet of Things. The presentation will pull back the curtain on a yearlong experiment with 1,000 collaborators working in 20-plus countries. Learn methods and solutions that can help you design and build immersive, engaging storytelling projects.
Producing for Impact: Finding the Story (Panel)
Moderated by Colin Fitzpatrick (Guardian Labs, WNET, Al Jazeera America)
As nonfiction crosses platforms, producers have more options than ever to reach, inspire, and activate audiences. The way a production is presented allows producers to realize specific audience end goals previously unobtainable without immense budgets. Tactics using comprehensive data visualization, compelling personal narratives, and sourcing from social media allow journalism and documentary producers today to appeal to emotion as well as the facts when creating issue-driven stories. Producers on this panel will discuss their own projects—from documentary film and interactive docs to social programs and digital newsrooms—and how to create meaningful and moving stories with goals beyond business as usual. Presented in partnership with The Producers Guild of America New Media Council & PGA East Documentary Committee.
Pry (Performance)
Created by Danny Cannizzaro & Samantha Gorman
Danny Cannizzaro and Samantha Gorman will perform excerpts from Pry, an app experience that fuses cinema, video game, and the novella into what the LA Weekly calls “Charlie Kaufman by way of an acid trip.” Six years ago, James, a demolition expert, returned from the Gulf War. Explore James’s mind as his vision fails and the past collides with the present. What happens to story when instead of turning a page, readers open or shut the protagonist’s eyes, pull apart his memories, or read his thoughts infinitely scrolling in every direction? For more, go to prynovella.com.
Small Star Seminar (Performance)
Presented by Cory McAbee
For the first solo music project created by Cory McAbee ( Crazy and Thief, The American Astronaut), the filmmaker/musician takes the stage as a motivational speaker who urges people to give up their goals, stop reaching for the stars, and start looking for the stars within their own minds. “Small Star Seminar” features optimistic songs about quitting, accepting one’s own limitations, and the power of sitting quietly. McAbee will address the theory of “Deep Astronomy” and answer questions from the audience. Part of a larger storytelling project, the performance will be documented for an upcoming feature film written and directed by McAbee.
The Working Screenwriter (Talk)
Presented by Mike Jones (Pixar)
Big dreams, wild risks, and seven-figure sales are all part of the typical screenwriter mythos. Yet most of these writers have had a different career, one where a few highs barely make up for the many lows. Working screenwriters must look at the long arc of a career where no models exist. How does a life in the screen trade fit into an everyday life? How do writers maintain their spark among constant rejection, wide financial fluctuations, and family stress? How does failure affect style? And how does a writer change? Mike Jones has never made seven figures. Yet for 15 years he has maintained a screenwriter’s turbulent life while writing for independent producers, major studios, and now Pixar. In this talk, Jones will outline how he built a steady career through checkered success, but became a better storyteller through failure.
The complete schedule will be announced at a later date. Tickets are $15 General Public; $10 for Members & Students, and a $79 Convergence All Access Pass will also be available for purchase. For more information:
Labels: convergence, NYFF 53, Sherlock Holmes, Storycode, The New York Film Festival, transmedia, Virtual Reality
NYFF 2015 - OVERVIEW
THE FILM SOCIETY OF LINCOLN CENTER
53rd NEW YORK FILM FESTIVAL 2015
September 25 – October 11
OVERVIEW
The 17-day New York Film Festival highlights the best in world cinema, featuring top films from celebrated filmmakers as well as fresh new talent.
AMONG THE MANY EVENTS TAKING PLACE ARE:
Opening Night: Robert Zemeckis: THE WALK
Centerpiece: Danny Boyle: STEVE JOBS
Closing Night: Don Cheadle: MILES AHEAD
Filmmaker in Residence: Athina Rachel Tsangari
Retrospective: Luminous Intimacy: The Cinema of Nathaniel Dorsky and Jerome Hiler
MAIN SLATE
CONVERGENCE
CRITIC'S ACADEMY
FREE EVENTS
FREE EVENTS
and much more...
The World Premiere of Robert Zemeckis’s The Walk will take place on Saturday, September 26 instead of Friday, September 25 due to Pope Francis’s upcoming visit to New York. The date change was made for logistical and security reasons.
Free NYFF programming will take place on Friday, September 25, prior to the official Opening Night screening on Saturday, September 26.
For more on the MAIN SLATE, please see:
Preview: NYFF 2015 MAIN SLATE
For more on the Opening Night Film, THE WALK, please see:
Preview: NYFF 2015 Opening Night - THE WALK
http://qporit.blogspot.com/2015/08/preview-nyff-2015-opening-night-walk.html
For more on CONVERGENCE Weekend, please see:
CONVERGENCE WEEKEND AT NYFF 2015
http://qporit.blogspot.com/2015/08/convergence-weekend-at-nyff-2015.html
For more on Athena Rachel Tangari, please see:
AN EVENING WITH ATHINA RACHEL TSANGARI,
2015 NYFF FILMMAKER IN RESIDENCE
Learn more at
For even more access, VIP Passes and Subscription Packages give buyers one of the earliest opportunities to purchase tickets and secure seats at some of the festival's biggest events including
Opening, Centerpiece, and Closing Nights.
VIP passes also provide access to many exciting events including
the invitation-only Opening Night party,
“ An Evening With…” Dinner,
Filmmaker Brunch,
and VIP Lounge
.(Benefits vary based on the pass or package type purchased.)
VIP Passes and Subscription Packages are on sale now.
For information about purchasing Subscription Packages and VIP Passes, go to filmlinc.org/NYFF2015.
The selection committee is chaired by Kent Jones and includes Dennis Lim, FSLC Director of Programming; Marian Masone, FSLC Senior Programming Advisor; Gavin Smith, Editor-in-Chief, Film Comment; and Amy Taubin, Contributing Editor, Film Comment andSight & Sound.
Founded in 1969 to celebrate American and international cinema, the Film Society of Lincoln Center works to recognize established and emerging filmmakers, support important new work, and to enhance the awareness, accessibility, and understanding of the moving image. The Film Society produces the renowned New York Film Festival, a curated selection of the year’s most significant new film work, and presents or collaborates on other annual New York City festivals including
· Dance on Camera,
· Film Comment Selects,
· Human Rights Watch Film Festival,
· New Directors/New Films,
· New York African Film Festival,
· New York Asian Film Festival,
· New York Jewish Film Festival,
· Open Roads: New Italian Cinema and
· Rendez-Vous with French Cinema.
In addition to publishing the award-winning Film Comment magazine, the Film Society recognizes an artist's unique achievement in film with the prestigious Chaplin Award, whose 2015 recipient is Robert Redford. The Film Society’s state-of-the-art Walter Reade Theater and the Elinor Bunin Munroe Film Center, located at Lincoln Center, provide a home for year-round programs and the New York City film community.
The Film Society receives generous, year-round support from American Airlines, The New York Times, Stella Artois, HBO, The Kobal Collection, Variety, Trump International Hotel and Tower, Row NYC Hotel, the National Endowment for the Arts, and the New York State Council on the Arts.
Support for the New York Film Festival is also generously provided by Jaeger-LeCoultre, FIJI Water, KIND Bars, Portage World Wide Inc., WABC-7, and WNET New York Public Media.
For more information, visit filmlinc.org, follow @filmlinc on Twitter, and download the FREE Film Society app, now available for iOS (iPhone and iPad) and Android devices.
Here are some selected stories about the NYFF from the past few years:
FOXCATCHER at NYFF 2014
NYFF 52 - CONVERGENCE WEEKEND 2014
NYFF 2014 LAURA POITRAS' CITIZENFOUR
http://qporit.blogspot.com/2014/09/nyff-2014-overview.html
NYFF 2014 - DIRECTORS DIALOGS
http://qporit.blogspot.com/2014/09/nyff-2014-directors-dialogs.html
NYFF 52 MAIN SLATE - 2014 NEW YORK FILM FESTIVAL
http://qporit.blogspot.com/2014/08/preview-nyff-52-main-slate-2014-new.html
CHILD OF GOD - SCOTT HAZE AND JAMES FRANCO
http://qporit.blogspot.com/2014/07/child-of-god-scott-haze-and-james-franco.html
LIV & INGMAR
http://qporit.blogspot.com/2013/12/liv-ingmar.html
THE SECRET LIFE OF WALTER MITTY
http://qporit.blogspot.com/2013/12/the-secret-life-of-walter-mitty.html
A GIANT WAVE OF GREAT ACTING IN CURRENT AND COMING FILMS
http://qporit.blogspot.com/2013/10/a-giant-wave-of-great-acting-in-current.html
MAIN SLATE: NEW YORK FILM FESTIVAL 2013
http://qporit.blogspot.com/2013/08/main-slate-new-york-film-festival-2013.html
TRANSMEDIA AT NYFF 2013
http://qporit.blogspot.com/2013/09/transmedia-at-nyff-2013.html
SPIKE JONZE's "HER" WILL CLOSE NYFF 2013
http://qporit.blogspot.com/2013/08/spike-jonzes-her-will-close-nyff-2013.html
FRANCES HA
http://qporit.blogspot.com/2013/05/frances-ha.html
LIFE OF PI
http://qporit.blogspot.com/2012/11/life-of-pi.html
"ONLY WHEN YOU WIN" - FLIGHT AT NYFF 50
http://qporit.blogspot.com/2012/10/only-when-you-win-flight-at-nyff-50.html
2012 NEW YORK FILM FESTIVAL -- NYFF50!
http://qporit.blogspot.com/2012/08/2012-new-york-film-festival-nyff50.html
TRANSMEDIA AT NYFF 50
http://qporit.blogspot.com/2012/09/transmedia-at-nyff-50.html
Labels: 53rd New York Film Festival, Ben Kingsley, Danny Boyle, Don Cheadle, Joseph Gordon-Levitt. Philippe Petit, MILES AHEAD, NYFF 2015, Robert Zemeckis, Steve Jobs, THE WALK
Thursday, August 13, 2015
Preview: NYFF 2015 MAIN SLATE
THE FILM SOCIETY OF LINCOLN CENTER
53rd NEW YORK FILM FESTIVAL 2015
September 25 – October 11
MAIN SLATE
www.filmlinc.org/NYFF2015
Opening Night
The Walk
Director: Robert Zemeckis
Centerpiece
Steve Jobs
Director: Danny Boyle
Closing Night
Miles Ahead
Director: Don Cheadle
Arabian Nights: Volume 1, The Restless One
Arabian Nights: Volume 2, The Desolate One
Arabian Nights: Volume 3, The Enchanted One
Director: Miguel Gomes
The Assassin
Director: Hou Hsiao-hsien
Bridge of Spies
Director: Steven Spielberg
Brooklyn
Director: John Crowley
Carol
Director: Todd Haynes
Cemetery of Splendour
Director: Apichatpong Weerasethakul
Les Cowboys
Director: Thomas Bidegain
Don’t Blink: Robert Frank
Director: Laura Israel
Experimenter
Director: Michael Almereyda
The Forbidden Room
Directors: Guy Maddin & Evan Johnson
In the Shadow of Women / L’Ombre des femmes
Director: Philippe Garrel
Journey to the Shore / Kishibe no tabi
Director: Kiyoshi Kurosawa
The Lobster
Director: Yorgos Lanthimos
Maggie’s Plan
Director: Rebecca Miller
The Measure of a Man / La Loi du marché
Stéphane Brizé
Mia Madre
Director: Nanni Moretti
Microbe & Gasoline / Microbe et Gasoil
Director: Michel Gondry
Mountains May Depart
Director: Jia Zhangke
My Golden Days / Trois Souvenirs de ma jeunesse
Director: Arnaud Desplechin
No Home Movie
Director: Chantal Akerman
Right Now, Wrong Then
Director: Hong Sangsoo
The Treasure / Comoara
Director: Corneliu Porumboiu
Where To Invade Next
Director: Michael Moore
Additional NYFF special events, documentary section, and filmmaker conversations and panels, as well as NYFF’s Projections and the full Convergence programs, will be announced in subsequent days and weeks.
The MAIN SLATE is the group of major feature films that consditute the backbone of the New York Film Festival. (For an overview of the whole Festival, please see: http://qporit.blogspot.com/2015/08/nyff-2015-overview.html )
This year, the 26 features in the MAIN SLATE include
the World Premiere of Steven Spielberg’s Bridge of Spies
new films from Chantal Akerman, Arnaud Desplechin, Todd Haynes,
Hou Hsiao-hsien, Rebecca Miller, Michael Moore, Nanni Moretti,
Apichatpong Weerasethakul, Jia Zhangke, and more
New York Film Festival Director and Selection Committee Chair, Kent Jones said:
“I could talk about the geographical range of the films in the selection, the
mix of artistic sensibilities from Hou Hsiao-hsien to Steven Spielberg to
Chantal Akerman, the astonishments of Miguel Gomes’s three-part Arabian
Nights or Kiyoshi Kurosawa’s heartbreaking Journey to the
Shore or Michael Almereyda’s surprising Experimenter, the points
in common among the various titles, but the only thing that really matters is
how uniformly beautiful and vital each of these movies are. If I were 17 again
and I looked at this lineup from far away, I’d be figuring out where I was
going to stay in New York for two weeks this autumn.”
The 2015 Main Slate will host four World Premieres: Steven Spielberg’s Bridge
of Spies, starring Tom Hanks and Mark Rylance in the Cold War story of the
1962 exchange of a U-2 pilot for a Soviet agent; Laura Israel’s Don’t
Blink: Robert Frank, a documentary portrait of the great photographer and
filmmaker; as well as the previously announced Opening Night selection The
Walk and Closing Night selection Miles Ahead.
Award-winning films from Cannes will be presented to New York audiences for the
first time, including
- Best Director Hou Hsiao-hsien’sThe Assassin;
- Todd Haynes’s Carol, starring Cannes' Best Actress winner Rooney Mara;
- Stéphane Brizé’s The Measure of a Man, starring Best Actor winner Vincent Lindon;
- Jury Prize winner The Lobster;
- Un Certain Regard Best Director Kiyoshi Kurosawa’s Journey to the Shore; and
- Un Certain Talent Prize winner Corneliu Porumboiu’s The Treasure.
Other notables among the many filmmakers returning to NYFF with new works
include
- Michael Moore with Where To Invade Next, which takes a hard and surprising look at the state of our nation from a fresh perspective;
- NYFF mainstay Hong Sangsoo, who will present his latest masterwork, Right Now, Wrong Then, about the relationship between a middle-aged art-film director and a fledgling artist; and
- French director Arnaud Desplechin, who is back with the funny and heartrending story of young love My Golden Days, starring Mathieu Amalric and newcomers Quentin Dolmaire and Lou Roy-Lecollinet.
Two filmmakers in this year’s lineup make their directorial debuts: Don Cheadle
with Miles Ahead, a remarkable portrait of the artist Miles Davis
(played by the Cheadle), during his crazy days in New York in the late-70s, and
Thomas Bidegain with Les Cowboys, a film reminiscent of John
Ford’s The Searchers, in which a father searches for his missing
daughter across a two-decade timespan—pre- to post-9/11—from Europe to
Afghanistan and back.
Several titles also add a comedic layer to this year’s lineup, including
- Rebecca Miller’s Maggie’s Plan, a New York romantic comedy starring Greta Gerwig, Ethan Hawke, Julianne Moore, Bill Hader, and Maya Rudolph;
- the moving and hilarious Mia Madre from Nanni Moretti, starring John Turturro;
- Michel Gondry’s Microbe & Gasoline, a new handmade-SFX comedy that follows two adolescent misfits who build a house on wheels and travel across France; and
- Corneliu Porumboiu’s The Treasure, a modern-day fable in which two men look for buried treasure in their backyard.
The 53rd New York Film Festival Main Slate
Opening Night
The Walk
Director: Robert Zemeckis
Centerpiece
Steve Jobs
Director: Danny Boyle
Closing Night
Miles Ahead
Director: Don Cheadle
Arabian Nights: Volume 1, The Restless One
Arabian Nights: Volume 2, The Desolate One
Arabian Nights: Volume 3, The Enchanted One
Director: Miguel Gomes
The Assassin
Director: Hou Hsiao-hsien
Bridge of Spies
Director: Steven Spielberg
Brooklyn
Director: John Crowley
Carol
Director: Todd Haynes
Cemetery of Splendour
Director: Apichatpong Weerasethakul
Les Cowboys
Director: Thomas Bidegain
Don’t Blink: Robert Frank
Director: Laura Israel
Experimenter
Director: Michael Almereyda
The Forbidden Room
Directors: Guy Maddin & Evan Johnson
In the Shadow of Women / L’Ombre des femmes
Director: Philippe Garrel
Journey to the Shore / Kishibe no tabi
Director: Kiyoshi Kurosawa
The Lobster
Director: Yorgos Lanthimos
Maggie’s Plan
Director: Rebecca Miller
The Measure of a Man / La Loi du marché
Stéphane Brizé
Mia Madre
Director: Nanni Moretti
Microbe & Gasoline / Microbe et Gasoil
Director: Michel Gondry
Mountains May Depart
Director: Jia Zhangke
My Golden Days / Trois Souvenirs de ma jeunesse
Director: Arnaud Desplechin
No Home Movie
Director: Chantal Akerman
Right Now, Wrong Then
Director: Hong Sangsoo
The Treasure / Comoara
Director: Corneliu Porumboiu
Where To Invade Next
Director: Michael Moore
Additional NYFF special events, documentary section, and filmmaker conversations and panels, as well as NYFF’s Projections and the full Convergence programs, will be announced in subsequent days and weeks.
Films & Descriptions
Opening Night
The Walk
Robert Zemeckis, USA, 2015, 3-D DCP, 100m
Robert Zemeckis’s magical and enthralling new film, the story of Philippe Petit (winningly played by Joseph Gordon-Levitt) and his walk between the World Trade Center’s Twin Towers, plays like a heist movie in the grand tradition of Rififi and Bob le flambeur. Zemeckis takes us through every detail—the stakeouts, the acquisition of equipment, the elaborate planning and rehearsing that it took to get Petit, his crew of raucous cohorts, and hundreds of pounds of rigging to the top of what was then the world’s tallest building. When Petit steps out on his wire, The Walk, a technical marvel and perfect 3-D re-creation of Lower Manhattan in the 1970s, shifts into another heart-stopping gear, and Zemeckis and his hero transport us into pure sublimity. With Ben Kingsley as Petit’s mentor. A Sony Pictures release.World Premiere
Centerpiece
Steve Jobs
Danny Boyle, USA, 2015, DCP, TBC
Anyone going to this provocative and wildly entertaining film expecting a straight biopic of Steve Jobs is in for a shock. Working from Walter Isaacson’s biography, writer Aaron Sorkin (The Social Network, Charlie Wilson’s War) and director Danny Boyle ( Slumdog Millionaire, 127 Hours) joined forces to create this dynamically character-driven portrait of the brilliant man at the epicenter of the digital revolution, weaving the multiple threads of their protagonist’s life into three daringly extended backstage scenes, as he prepares to launch the first Macintosh, the NeXT work station and the iMac. We get a dazzlingly executed cross-hatched portrait of a complex and contradictory man, set against the changing fortunes and circumstances of the home-computer industry and the ascendancy of branding, of products, and of oneself. The stellar cast includes Michael Fassbender in the title role, Kate Winslet as Joanna Hoffman, Seth Rogen as Steve Wozniak, Jeff Daniels as John Sculley, Katherine Waterston as Chrisann Brennan and Michael Stuhlbarg as Andy Hertzfeld. A Universal Pictures release.
Closing Night
Miles Ahead
Don Cheadle, USA, 2015, DCP, 100m
Miles Davis was one of the greatest artists of the 20th century. And how do you make a movie about him? You get to know the man inside and out and then you reveal him in full, which is exactly what Don Cheadle does as a director, a writer, and an actor with this remarkable portrait of Davis, refracted through his crazy days in the late-70s. Holed up in his Manhattan apartment, wracked with pain from a variety of ailments and sweating for the next check from his record company, dodging sycophants and industry executives, he is haunted by memories of old glories and humiliations and of his years with his great love Frances Taylor (Emayatzy Corinealdi). Every second of Cheadle’s cinematic mosaic is passionately engaged with its subject: this is, truly, one of the finest films ever made about the life of an artist. With Ewan McGregor as Dave Brill, the “reporter” who cons his way into Miles’ apartment. A Sony Pictures Classics release. World Premiere
Arabian Nights: Volume 1, The Restless One
Miguel Gomes, Portugal/France/Germany/Switzerland, 2015, DCP, 125m
Portuguese with English subtitles
An up-to-the minute rethinking of what it means to make a political film today, Miguel Gomes’s shape-shifting paean to the art of storytelling strives for what its opening titles call “a fictional form from facts.” Working for a full year with a team of journalists who sent dispatches from all over the country during Portugal’s recent plunge into austerity, Gomes ( Tabu, NYFF50) turns actual events into the stuff of fable, and channels it all through the mellifluous voice of Scheherazade (Crista Alfaiate), the mythic queen of the classic folktale. Volume 1 alone tries on more narrative devices than most filmmakers attempt in a lifetime, mingling documentary material about unemployment and local elections with visions of exploding whales and talking cockerels. It is hard to imagine a more generous or radical approach to these troubled times, one that honors its fantasy life as fully as its hard realities. A Kino Lorber release. U.S. Premiere
Arabian Nights: Volume 2, The Desolate One
Miguel Gomes, Portugal/France/Germany/Switzerland, 2015, DCP, 131m
Portuguese with English subtitles
In keeping with its subtitle, the middle section of Miguel Gomes’s monumental yet light-footed magnum opus shifts into a more subdued and melancholic register. But within each of these three tales, framed as the wild imaginings of the Arabian queen Scheherazade and adapted from recent real-life events in Portugal, there are surprises and digressions aplenty. In the first, a deadpan neo-Western of sorts, an escaped murderer becomes a local hero for dodging the authorities. The second deals with the theft of 13 cows, as told through a Brechtian open-air courtroom drama in which the testimonies become increasingly absurd. Finally, a Maltese poodle shuttles between various owners in a tear-jerking collective portrait of a tower block’s morose residents. Attesting to the power of fiction to generate its own reality, the film treats its fantasy dimension as a license for directness, a path to a more meaningful truth. A Kino Lorber release. U.S. Premiere
Arabian Nights: Volume 3, The Enchanted One
Miguel Gomes, Portugal/France/Germany/Switzerland, 2015, DCP, 125m
Portuguese with English subtitles
Miguel Gomes’s sui generis epic concludes with arguably its most eccentric—and most enthralling—installment. Scheherazade escapes the king for an interlude of freedom in Old Baghdad, envisioned here as a sunny Mediterranean archipelago complete with hippies and break-dancers. After her eventual return to her palatial confines comes the most lovingly protracted of all the stories in Arabian Nights, a documentary chronicle of Lisbon-area bird trappers preparing their prized finches for birdsong competitions. Right to the end, Gomes’s film balances the leisurely art of the tall tale with a sense of deadline urgency—a reminder that for Scheherazade, and perhaps for us all, stories can be a matter of life and death. A Kino Lorber release. U.S. Premiere
The Assassin
Hou Hsiao-hsien, Taiwan/China/Hong Kong, 2015, DCP, 105m
Mandarin with English subtitles
A wuxia like no other, The Assassin is set in the waning years of the Tang Dynasty when provincial rulers are challenging the power of royal court. Nie Yinniang (Shu Qi), who was exiled as a child so that her betrothed could make a more politically advantageous match, has been trained as an assassin for hire. Her mission is to destroy her former financé (Chang Chen). But worry not about the plot, which is as old as the jagged mountains and deep forests that bear witness to the cycles of power and as elusive as the mists that surround them. Hou’s art is in the telling. The film is immersive and ephemeral, sensuous and spare, and as gloriously beautiful in its candle-lit sumptuous red and gold decor as Hou’s 1998 masterpiece, Flowers of Shanghai. As for the fight scenes, they’re over almost before you realize they’ve happened, but they will stay in your mind’s eye forever. A Well Go USA release. U.S. Premiere
Bridge of Spies
Steven Spielberg, USA, 2015, DCP, 135m
The “bridge of spies” of the title refers to Glienicke Bridge, which crosses what was once the borderline between the Federal Republic of Germany and the GDR. In the time from the building of the Berlin Wall to its destruction in 1989, there were three prisoner exchanges between East and West. The first and most famous spy swap occurred on February 10, 1962, when Soviet agent Rudolph Abel was traded for American pilot Francis Gary Powers, captured by the Soviets when his U-2 reconnaissance plane was shot down over Sverdlovsk. The exchange was negotiated by Abel’s lawyer, James B. Donovan, who also arranged for the simultaneous release of American student Frederic Pryor at Checkpoint Charlie. Working from a script by Matt Charman and Joel and Ethan Coen, Steven Spielberg has brought every strange turn in this complex Cold War story to vividly tactile life. With a brilliant cast, headed by Tom Hanks as Donovan and Mark Rylance as Abel—two men who strike up an improbable friendship based on a shared belief in public service. A Touchstone Pictures release. World Premiere
Brooklyn
John Crowley, UK/Ireland/Canada, 2015, 35mm/DCP, 112m
In the middle of the last century, Eilis (Saoirse Ronan) takes the boat from Ireland to America in search of a better life. She endures the loneliness of the exile, boarding with an insular and catty collection of Irish girls in Brooklyn. Gradually, her American dream materializes: she studies bookkeeping and meets a handsome, sweet Italian boy (Emory Cohen). But then bad news brings her back home, where she finds a good job and another handsome boy (Domhnall Gleeson), this time from a prosperous family. On which side of the Atlantic does Eilis’s future live, and with whom? Director John Crowley (Boy A) and writer Nick Hornby haven’t just fashioned a great adaptation of Colm Tóibín’s novel, but a beautiful movie, a sensitively textured re-creation of the look and emotional climate of mid-century America and Ireland, with Ronan, as quietly and vibrantly alive as a silent-screen heroine, at its heart. A Fox Searchlight Pictures release.
Carol
Todd Haynes, USA, 2015, DCP, 118m
Todd Haynes’s adaptation of Patricia Highsmith’s debut novel stars Cate Blanchett as the titular Carol, a wealthy suburban wife and mother, and Rooney Mara as an aspiring photographer who meet by chance, fall in love almost at first sight, and defy the closet of the early 1950s to be together. Working with his longtime cinematographer Ed Lachman and shooting on the Super-16 film he favors for the way it echoes the movie history of 20th-century America, Haynes charts subtle shifts of power and desire in images that are alternately luminous and oppressive. Blanchett and Mara are both splendid; the erotic connection between their characters is palpable from beginning to end, as much in its repression as in eagerly claimed moments of expressive freedom. Originally published under a pseudonym, Carol is Highsmith’s most affirmative work; Haynes has more than done justice to the multilayered emotions evoked by it source material. A Weinstein Company release.
Cemetery of Splendour
Apichatpong Weerasethakul, Thailand/UK/France/Germany/Malaysia, 2015, DCP, 122m
Thai with English subtitles
The wondrous new film by Thai director Apichatpong Weerasethakul (whose last feature, Uncle Boonmee Who Can Recall His Past Lives, was a Palme d’Or winner and a NYFF48 selection) is set in and around a hospital ward full of comatose soldiers. Attached to glowing dream machines, and tended to by a kindly volunteer (Jenjira Pongpas Widner) and a young clairvoyant (Jarinpattra Rueangram), the men are said to be waging war in their sleep on behalf of long-dead feuding kings, and their mysterious slumber provides the rich central metaphor: sleep as safe haven, as escape mechanism, as ignorance, as bliss. To slyer and sharper effect than ever, Apichatpong merges supernatural phenomena with Thailand’s historical phantoms and national traumas. Even more seamlessly than his previous films, this sun-dappled reverie induces a sensation of lucid dreaming, conjuring a haunted world where memory and myth intrude on physical space. A Strand Releasing release. U.S. Premiere
Les Cowboys
Thomas Bidegain, 2015, France, DCP, 114m
French and English with English subtitles
Country and Western enthusiast Alain (François Damiens) is enjoying an outdoor gathering of fellow devotees with his wife and teenage children when his daughter abruptly vanishes. Learning that she’s eloped with her Muslim boyfriend, he embarks on increasingly obsessive quest to track her down. As the years pass and the trail grows cold, Alain sacrifices everything, while drafting his son into his efforts. The echoes of The Searchers are unmistakable, but the story departs from John Ford’s film in unexpected ways, escaping its confining European milieu as the pursuit assumes near-epic proportions in post-9/11 Afghanistan. This muscular debut, worthy of director Thomas Bidegain’s screenwriting collaborations with Jacques Audiard, yields a sweeping vision of a world in which the codes of the Old West no longer seem to hold. A Cohen Media Group release. U.S. Premiere
Don’t Blink: Robert Frank
Laura Israel, USA/Canada, 2015, DCP, 82m
The life and work of Robert Frank—as a photographer and a filmmaker—are so intertwined that they’re one in the same, and the vast amount of territory he’s covered, from The Americans in 1958 up to the present, is intimately registered in his now-formidable body of artistic gestures. From the early ’90s on, Frank has been making his films and videos with the brilliant editor Laura Israel, who has helped him to keep things homemade and preserve the illuminating spark of first contact between camera and people/places. Don’t Blink is Israel’s like-minded portrait of her friend and collaborator, a lively rummage sale of images and sounds and recollected passages and unfathomable losses and friendships that leaves us a fast and fleeting imprint of the life of the Swiss-born man who reinvented himself the American way, and is still standing on ground of his own making at the age of 90. World Premiere
Experimenter
Michael Almereyda, USA, 2014, DCP, 94m
Michael Almereyda’s brilliant portrait of Stanley Milgram, the social scientist whose 1961, Yale-based “obedience study” reflected back on the Holocaust and anticipated Abu Ghraib and other atrocities carried out by ordinary people who were just following orders, places its subject in an appropriately experimental cinema framework. The proverbial elephant in the room materializes on screen; Milgram (Peter Sarsgaard) sometimes addresses the camera directly as if to implicate us in his studies and the unpleasant truths they reveal. Remarkably, the film evokes great compassion for this uncompromising, difficult man, in part because we often see him through the eyes of his wife (Winona Ryder, in a wonderfully grounded performance), who fully believed in his work and its profoundly moral purpose. Almereyda creates the bohemian-tinged academic world of the 1960s through the 1980s with an economy that Stanley Kubrick might have envied. A Magnolia Pictures release.
The Forbidden Room
Guy Maddin & Evan Johnson, Canada, 2015, DCP, 120m
The four-man crew of a submarine are trapped underwater, running out of air. A classic scenario of claustrophobic suspense—at least until a hatch opens and out steps… a lumberjack? As this newcomer’s backstory unfolds (and unfolds and unfolds in over a dozen outlandish tales), Guy Maddin, cinema’s reigning master of feverish filmic fetishism, embarks on a phantasmagoric narrative adventure of stories within stories within dreams within flashbacks in a delirious globe-trotting mise en abyme the equals of any by the late Raúl Ruiz. Collaborating with poet John Ashbery and featuring sublime contributions from the likes of Jacques Nolot, Charlotte Rampling, Mathieu Amalric, legendary cult electro-pop duo Sparks, and not forgetting muses Louis Negin and Udo Kier, Maddin dives deeper than ever: only the lovechild of Josef von Sternberg and Jack Smith could be responsible for this insane magnum opus. A Kino Lorber release.
In the Shadow of Women / L’Ombre des femmes
Philippe Garrel, France, 2015, DCP, 73m
French with English subtitles
The new film by the great Philippe Garrel (previously seen at the NYFF with Regular Lovers in 2005 and Jealousy in 2013) is a close look at infidelity—not merely the fact of it, but the particular, divergent ways in which it’s experienced and understood by men and women. Stanislas Merhar and Clotilde Courau are Pierre and Manon, a married couple working in fragile harmony on Pierre’s documentary film projects, the latest of which is a portrait of a resistance fighter (Jean Pommier). When Pierre takes a lover (Lena Paugam), he feels entitled to do so, and he treats both wife and mistress with disengagement bordering on disdain; when Manon catches Pierre in the act, her immediate response is to find common ground with her husband. Garrel is an artist of intimacies and emotional ecologies, and with In the Shadow of Women he has added narrative intricacy and intrigue to his toolbox. The result is an exquisite jewel of a film. U.S. Premiere
Journey to the Shore / Kishibe no tabi
Kiyoshi Kurosawa, Japan/France, 2015, DCP, 127m
Japanese with English subtitles
Based on Kazumi Yumoto’s 2010 novel, Kiyoshi Kurosawa’s latest film begins with a young widow named Mizuki (Eri Fukatsu), who has been emotionally flattened and muted by the disappearance of her husband Yusuke (Tadanobu Asano). One day, from out of the blue or the black, Yusuke’s ghost drops in, more like an exhausted and unexpected guest than a wandering spirit. And then Journey to the Shorebecomes a road movie: Mizuki and Yusuke pack their bags, leave Tokyo, and travel by train through parts of Japan that we rarely see in movies, acclimating themselves to their new circumstances and stopping for extended stays with friends and fellow pilgrims that Yusuke has met on his way through the afterworld, some living and some dead. The particular beauty of Journey to the Shore lies in its flowing sense of life as balance between work and love, existence and nonexistence, you and me. U.S. Premiere
The Lobster
Yorgos Lanthimos, France/Netherlands/Greece/UK, 2015, DCP, 118m
In the very near future, society demands that we live as couples. Single people are rounded up and sent to a seaside compound—part resort and part minimum-security prison—where they are given a finite number of days to find a match. If they don’t succeed, they will be “altered” and turned into an animal. The recently divorced David (Colin Farrell) arrives at The Hotel with his brother, now a dog; in the event of failure, David has chosen to become a lobster… because they live so long. When David falls in love, he’s up against a new set of rules established by another, rebellious order: for romantics, there’s nowhere to run, nowhere to hide. Welcome to the latest dark, darkcomedy from Yorgos Lanthimos ( Dogtooth), creator of absurdist societies not so very different from our own. With Léa Seydoux as the leader of the Loners, Rachel Weisz as David’s true love, John C. Reilly, and Ben Whishaw. An Alchemy release.
Maggie’s Plan
Rebecca Miller, USA, 2015, DCP, 92m
Rebecca Miller’s new film is as wise, funny, and suspenseful as a Jane Austen novel. Greta Gerwig shines brightly in the role of Maggie, a New School administrator on the verge of completing her life plan with a donor-fathered baby when she meets John (Ethan Hawke), a soulful but unfulfilled adjunct professor. John is unhappily married to a Columbia-tenured academic superstar wound tighter than a coiled spring (Julianne Moore). Maggie and the professor commiserate, share confidences, and fall in love. And where most contemporary romantic comedies end, Miller’s film is just getting started. In the tradition of Woody Allen and Paul Mazursky, Miller approaches the genre of the New York romantic comedy with relish and loving energy. With Bill Hader and Maya Rudolph as Maggie’s married-with-children friends, drawn to defensive sarcasm like moths to a flame, and Travis Fimmel as Maggie’s donor-in-waiting. U.S. Premiere
The Measure of a Man / La Loi du marché
Stéphane Brizé, France, 2015, DCP, 93m
French with English subtitles
Vincent Lindon gives his finest performance to date as unemployed everyman Thierry, who must submit to a series of quietly humiliating ordeals in his search for work. Futile retraining courses that lead to dead ends, interviews via Skype, an interview-coaching workshop critique of his self-presentation by fellow jobseekers—all are mechanisms that seek to break him down and strip him of identity and self-respect in the name of reengineering of a workforce fit for an neoliberal technocratic system. Nothing if not determinist, Stéphane Brizé’s film dispassionately monitors the progress of its stoic protagonist until at last he lands a job on the front line in the surveillance and control of his fellow man—and finally faces one too many moral dilemmas. A powerful and deeply troubling vision of the realities of our new economic order. A Kino Lorber release. North American Premiere
Mia Madre
Nanni Moretti, Italy/France, 2015, DCP, 106m
Italian and English with English subtitles
Margherita (Margherita Buy) is a middle-aged filmmaker contending with shooting an international co-production with a mercurial American actor (John Turturro) and with the fact that her beloved mother (Giulia Lazzarini) is mortally ill. Underrated as an actor, director Nanni Moretti, offers a fascinating portrayal as Margherita’s brother, a quietly abrasive, intelligent man with a wonderfully tamped-down generosity and warmth. The construction of the film is as simple as it is beautiful: the chaos of the movie within the movie merges with the fear of disorder and feelings of pain and loss brought about by impending death. Mia Madre is a sharp and continually surprising work about the fragility of existence that is by turns moving, hilarious, and subtly disquieting. An Alchemy release. U.S. Premiere
Microbe & Gasoline / Microbe et Gasoil
Michel Gondry, France, 2015, DCP, 103m
French with English subtitles
The new handmade-SFX comedy from Michel Gondry ( Eternal Sunshine of the Spotless Mind, Be Kind Rewind) is set in an autobiographical key. Teenage misfits Microbe (Ange Dargent) and Gasoline (Théophile Baquet), one nicknamed for his size and the other for his love of all things mechanical and fuel-powered, become fast friends. Unloved in school and misunderstood at home—Microbe is overprotected, Gasoline is by turns ignored and abused—they decide to build a house on wheels (complete with a collapsible flower window box) and sputter, push, and coast their way to the camp where Gasoline went as a child, with a stop along the way to visit Microbe’s crush (Diane Besnier). Gondry’s visual imagination is prodigious, and so is his cultivation of spontaneously generated fun and off-angled lyricism, his absolute irreverence, and his emotional frankness. This is one of his freshest and loveliest films. With Audrey Tatou as Microbe’s mom. U.S. Premiere
Mountains May Depart
Jia Zhangke, China/France/Japan, 2015, DCP, 131m
Mandarin and English with English subtitles
The plot of Jia Zhangke’s new film is simplicity itself. Fenyang 1999, on the cusp of the capitalist explosion in China. Shen Tao (Zhao Tao) has two suitors—Zhang (Zhang Yi), an entrepreneur-to-be, and his best friend Liangzi (Liang Jin Dong), who makes his living in the local coal mine. Shen Tao decides, with a note of regret, to marry Zhang, a man with a future. Flash-forward 15 years: the couple’s son Dollar is paying a visit to his now-estranged mother, and everyone and everything seems to have grown more distant in time and space… and then further ahead in time, to even greater distances. Jia is modern cinema’s greatest poet of drift and the uncanny, slow-motion feeling of massive and inexorable change. Like his 2013 A Touch of Sin, Mountains May Depart is an epically scaled canvas. But where the former was angry and quietly terrifying, the latter is a heartbreaking prayer for the restoration of what has been lost in the name of progress. A Kino Lorber release. U.S. Premiere
My Golden Days / Trois Souvenirs de ma jeunesse
Arnaud Desplechin, France, 2015, DCP, 123m
French with English subtitles
Arnaud Desplechin’s alternately hilarious and heartrending latest work is intimate yet expansive, a true autobiographical epic. Mathieu Amalric—Jean-Pierre Léaud to Desplechin’s François Truffaut—reprises the character of Paul Dédalus from the director’s groundbreakingMy Sex Life... or How I Got Into an Argument (NYFF, 1996), now looking back on the mystery of his own identity from the lofty vantage point of middle age. Desplechin visits three varied but interlocking episodes in his hero’s life, each more surprising and richly textured than the next, and at the core of his film is the romance between the adolescent Paul (Quentin Dolmaire) and Esther (Lou Roy-Lecollinet). Most directors trivialize young love by slotting it into a clichéd category, but here it is ennobled and alive in all of its heartbreak, terror, and beauty. Le Monde recently referred to Desplechin as “the most Shakespearean of filmmakers,” and boy, did they ever get that right. My Golden Days is a wonder to behold. A Magnolia Pictures release. North American Premiere
No Home Movie
Chantal Akerman, Belgium/France, 2015, DCP, 115m
French and English with English subtitles
At the center of Chantal Akerman’s enormous body of work is her mother, a Holocaust survivor who married and raised a family in Brussels. In recent years, the filmmaker has explicitly depicted, in videos, books, and installation works, her mother’s life and her own intense connection to her mother, and in turn her mother’s connection to her mother. No Home Movie is a portrait by Akerman, the daughter, of Akerman, the mother, in the last years of her life. It is an extremely intimate film but also one of great formal precision and beauty, one of the rare works of art that is both personal and universal, and as much a masterpiece as her 1975 career-defining Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles. U.S. Premiere
Right Now, Wrong Then
Hong Sangsoo, South Korea, 2015, DCP, 121m
Korean with English subtitles
Ham Chunsu (Jung Jaeyoung) is an art-film director who has come to Suwon for a screening of one of his movies. He meets Yoon Heejung (Kim Minhee), a fledgling artist. She’s never seen any of his films but knows he’s famous; he’d like to see her paintings and then go for sushi and soju. Every word, every pause, every facial expression and every movement, is a negotiation between revelation and concealment: too far over the line for Chunsu and he’s suddenly a middle-aged man on the prowl who uses insights as tools of seduction; too far for Heejung and she’s suddenly acquiescing to a man who’s leaving the next day. So they walk the fine line all the way to a tough and mordantly funny end point, at which time… we begin again, but now with different emotional dynamics. Hong Sangsoo, represented many times in the NYFF, achieves a maximum of layered nuance with a minimum of people, places, and incidents. He is, truly, a master.U.S. Premiere
The Treasure / Comoara
Corneliu Porumboiu, Romania, 2015, DCP, 89m
Romanian with English subtitles
Costi (Cuzin Toma) leads a fairly quiet, unremarkable life with his wife and son. He’s a good provider, but he struggles to make ends meet. One evening there’s a knock at the door. It’s a stranger, a neighbor named Adrian (Adrian Purcarescu), with a business proposal: lend him some money to find a buried treasure in his grandparents’ backyard and they’ll split the proceeds. Is it a scam or a real treasure hunt? Corneliu Porumboiu’s ( When Evening Falls on Bucharest or Metabolism, NYFF 2013) modern-day fable starts like an old Honeymoonersepisode with a get-rich-quick premise, gradually develops into a shaggy slapstick comedy, shifts gears into a hilariously dry delineation of the multiple layers of pure bureaucracy and paperwork drudgery, and ends in a new and altogether surprising key. Porumboiu is one of the subtlest artists in movies, and this is one of his wryest films, and his most magical.
Where To Invade Next
Michael Moore, USA, 2015, DCP, 110m
Where are we, as Americans? Where are we going as a country? And is it where we want to go, or where we think we have to go? SinceRoger & Me in 1989, Michael Moore has been examining these questions and coming up with answers that are several worlds away from the ones we are used to seeing and hearing and reading in mainstream media, or from our elected officials. In his previous films, Moore has taken on one issue at a time, from the hemorrhaging of American jobs to the response to 9/11 to the precariousness of our healthcare system. In his new film, he shifts his focus to the whole shebang and ponders the current state of the nation from a very different perspective: that is, from the outside looking in. Where To Invade Next is provocative, very funny, and impassioned—just like all of Moore’s work. But it’s also pretty surprising. U.S. Premiere
The Walk
Robert Zemeckis, USA, 2015, 3-D DCP, 100m
Robert Zemeckis’s magical and enthralling new film, the story of Philippe Petit (winningly played by Joseph Gordon-Levitt) and his walk between the World Trade Center’s Twin Towers, plays like a heist movie in the grand tradition of Rififi and Bob le flambeur. Zemeckis takes us through every detail—the stakeouts, the acquisition of equipment, the elaborate planning and rehearsing that it took to get Petit, his crew of raucous cohorts, and hundreds of pounds of rigging to the top of what was then the world’s tallest building. When Petit steps out on his wire, The Walk, a technical marvel and perfect 3-D re-creation of Lower Manhattan in the 1970s, shifts into another heart-stopping gear, and Zemeckis and his hero transport us into pure sublimity. With Ben Kingsley as Petit’s mentor. A Sony Pictures release.World Premiere
Centerpiece
Steve Jobs
Danny Boyle, USA, 2015, DCP, TBC
Anyone going to this provocative and wildly entertaining film expecting a straight biopic of Steve Jobs is in for a shock. Working from Walter Isaacson’s biography, writer Aaron Sorkin (The Social Network, Charlie Wilson’s War) and director Danny Boyle ( Slumdog Millionaire, 127 Hours) joined forces to create this dynamically character-driven portrait of the brilliant man at the epicenter of the digital revolution, weaving the multiple threads of their protagonist’s life into three daringly extended backstage scenes, as he prepares to launch the first Macintosh, the NeXT work station and the iMac. We get a dazzlingly executed cross-hatched portrait of a complex and contradictory man, set against the changing fortunes and circumstances of the home-computer industry and the ascendancy of branding, of products, and of oneself. The stellar cast includes Michael Fassbender in the title role, Kate Winslet as Joanna Hoffman, Seth Rogen as Steve Wozniak, Jeff Daniels as John Sculley, Katherine Waterston as Chrisann Brennan and Michael Stuhlbarg as Andy Hertzfeld. A Universal Pictures release.
Closing Night
Miles Ahead
Don Cheadle, USA, 2015, DCP, 100m
Miles Davis was one of the greatest artists of the 20th century. And how do you make a movie about him? You get to know the man inside and out and then you reveal him in full, which is exactly what Don Cheadle does as a director, a writer, and an actor with this remarkable portrait of Davis, refracted through his crazy days in the late-70s. Holed up in his Manhattan apartment, wracked with pain from a variety of ailments and sweating for the next check from his record company, dodging sycophants and industry executives, he is haunted by memories of old glories and humiliations and of his years with his great love Frances Taylor (Emayatzy Corinealdi). Every second of Cheadle’s cinematic mosaic is passionately engaged with its subject: this is, truly, one of the finest films ever made about the life of an artist. With Ewan McGregor as Dave Brill, the “reporter” who cons his way into Miles’ apartment. A Sony Pictures Classics release. World Premiere
Arabian Nights: Volume 1, The Restless One
Miguel Gomes, Portugal/France/Germany/Switzerland, 2015, DCP, 125m
Portuguese with English subtitles
An up-to-the minute rethinking of what it means to make a political film today, Miguel Gomes’s shape-shifting paean to the art of storytelling strives for what its opening titles call “a fictional form from facts.” Working for a full year with a team of journalists who sent dispatches from all over the country during Portugal’s recent plunge into austerity, Gomes ( Tabu, NYFF50) turns actual events into the stuff of fable, and channels it all through the mellifluous voice of Scheherazade (Crista Alfaiate), the mythic queen of the classic folktale. Volume 1 alone tries on more narrative devices than most filmmakers attempt in a lifetime, mingling documentary material about unemployment and local elections with visions of exploding whales and talking cockerels. It is hard to imagine a more generous or radical approach to these troubled times, one that honors its fantasy life as fully as its hard realities. A Kino Lorber release. U.S. Premiere
Arabian Nights: Volume 2, The Desolate One
Miguel Gomes, Portugal/France/Germany/Switzerland, 2015, DCP, 131m
Portuguese with English subtitles
In keeping with its subtitle, the middle section of Miguel Gomes’s monumental yet light-footed magnum opus shifts into a more subdued and melancholic register. But within each of these three tales, framed as the wild imaginings of the Arabian queen Scheherazade and adapted from recent real-life events in Portugal, there are surprises and digressions aplenty. In the first, a deadpan neo-Western of sorts, an escaped murderer becomes a local hero for dodging the authorities. The second deals with the theft of 13 cows, as told through a Brechtian open-air courtroom drama in which the testimonies become increasingly absurd. Finally, a Maltese poodle shuttles between various owners in a tear-jerking collective portrait of a tower block’s morose residents. Attesting to the power of fiction to generate its own reality, the film treats its fantasy dimension as a license for directness, a path to a more meaningful truth. A Kino Lorber release. U.S. Premiere
Arabian Nights: Volume 3, The Enchanted One
Miguel Gomes, Portugal/France/Germany/Switzerland, 2015, DCP, 125m
Portuguese with English subtitles
Miguel Gomes’s sui generis epic concludes with arguably its most eccentric—and most enthralling—installment. Scheherazade escapes the king for an interlude of freedom in Old Baghdad, envisioned here as a sunny Mediterranean archipelago complete with hippies and break-dancers. After her eventual return to her palatial confines comes the most lovingly protracted of all the stories in Arabian Nights, a documentary chronicle of Lisbon-area bird trappers preparing their prized finches for birdsong competitions. Right to the end, Gomes’s film balances the leisurely art of the tall tale with a sense of deadline urgency—a reminder that for Scheherazade, and perhaps for us all, stories can be a matter of life and death. A Kino Lorber release. U.S. Premiere
The Assassin
Hou Hsiao-hsien, Taiwan/China/Hong Kong, 2015, DCP, 105m
Mandarin with English subtitles
A wuxia like no other, The Assassin is set in the waning years of the Tang Dynasty when provincial rulers are challenging the power of royal court. Nie Yinniang (Shu Qi), who was exiled as a child so that her betrothed could make a more politically advantageous match, has been trained as an assassin for hire. Her mission is to destroy her former financé (Chang Chen). But worry not about the plot, which is as old as the jagged mountains and deep forests that bear witness to the cycles of power and as elusive as the mists that surround them. Hou’s art is in the telling. The film is immersive and ephemeral, sensuous and spare, and as gloriously beautiful in its candle-lit sumptuous red and gold decor as Hou’s 1998 masterpiece, Flowers of Shanghai. As for the fight scenes, they’re over almost before you realize they’ve happened, but they will stay in your mind’s eye forever. A Well Go USA release. U.S. Premiere
Bridge of Spies
Steven Spielberg, USA, 2015, DCP, 135m
The “bridge of spies” of the title refers to Glienicke Bridge, which crosses what was once the borderline between the Federal Republic of Germany and the GDR. In the time from the building of the Berlin Wall to its destruction in 1989, there were three prisoner exchanges between East and West. The first and most famous spy swap occurred on February 10, 1962, when Soviet agent Rudolph Abel was traded for American pilot Francis Gary Powers, captured by the Soviets when his U-2 reconnaissance plane was shot down over Sverdlovsk. The exchange was negotiated by Abel’s lawyer, James B. Donovan, who also arranged for the simultaneous release of American student Frederic Pryor at Checkpoint Charlie. Working from a script by Matt Charman and Joel and Ethan Coen, Steven Spielberg has brought every strange turn in this complex Cold War story to vividly tactile life. With a brilliant cast, headed by Tom Hanks as Donovan and Mark Rylance as Abel—two men who strike up an improbable friendship based on a shared belief in public service. A Touchstone Pictures release. World Premiere
Brooklyn
John Crowley, UK/Ireland/Canada, 2015, 35mm/DCP, 112m
In the middle of the last century, Eilis (Saoirse Ronan) takes the boat from Ireland to America in search of a better life. She endures the loneliness of the exile, boarding with an insular and catty collection of Irish girls in Brooklyn. Gradually, her American dream materializes: she studies bookkeeping and meets a handsome, sweet Italian boy (Emory Cohen). But then bad news brings her back home, where she finds a good job and another handsome boy (Domhnall Gleeson), this time from a prosperous family. On which side of the Atlantic does Eilis’s future live, and with whom? Director John Crowley (Boy A) and writer Nick Hornby haven’t just fashioned a great adaptation of Colm Tóibín’s novel, but a beautiful movie, a sensitively textured re-creation of the look and emotional climate of mid-century America and Ireland, with Ronan, as quietly and vibrantly alive as a silent-screen heroine, at its heart. A Fox Searchlight Pictures release.
Carol
Todd Haynes, USA, 2015, DCP, 118m
Todd Haynes’s adaptation of Patricia Highsmith’s debut novel stars Cate Blanchett as the titular Carol, a wealthy suburban wife and mother, and Rooney Mara as an aspiring photographer who meet by chance, fall in love almost at first sight, and defy the closet of the early 1950s to be together. Working with his longtime cinematographer Ed Lachman and shooting on the Super-16 film he favors for the way it echoes the movie history of 20th-century America, Haynes charts subtle shifts of power and desire in images that are alternately luminous and oppressive. Blanchett and Mara are both splendid; the erotic connection between their characters is palpable from beginning to end, as much in its repression as in eagerly claimed moments of expressive freedom. Originally published under a pseudonym, Carol is Highsmith’s most affirmative work; Haynes has more than done justice to the multilayered emotions evoked by it source material. A Weinstein Company release.
Cemetery of Splendour
Apichatpong Weerasethakul, Thailand/UK/France/Germany/Malaysia, 2015, DCP, 122m
Thai with English subtitles
The wondrous new film by Thai director Apichatpong Weerasethakul (whose last feature, Uncle Boonmee Who Can Recall His Past Lives, was a Palme d’Or winner and a NYFF48 selection) is set in and around a hospital ward full of comatose soldiers. Attached to glowing dream machines, and tended to by a kindly volunteer (Jenjira Pongpas Widner) and a young clairvoyant (Jarinpattra Rueangram), the men are said to be waging war in their sleep on behalf of long-dead feuding kings, and their mysterious slumber provides the rich central metaphor: sleep as safe haven, as escape mechanism, as ignorance, as bliss. To slyer and sharper effect than ever, Apichatpong merges supernatural phenomena with Thailand’s historical phantoms and national traumas. Even more seamlessly than his previous films, this sun-dappled reverie induces a sensation of lucid dreaming, conjuring a haunted world where memory and myth intrude on physical space. A Strand Releasing release. U.S. Premiere
Les Cowboys
Thomas Bidegain, 2015, France, DCP, 114m
French and English with English subtitles
Country and Western enthusiast Alain (François Damiens) is enjoying an outdoor gathering of fellow devotees with his wife and teenage children when his daughter abruptly vanishes. Learning that she’s eloped with her Muslim boyfriend, he embarks on increasingly obsessive quest to track her down. As the years pass and the trail grows cold, Alain sacrifices everything, while drafting his son into his efforts. The echoes of The Searchers are unmistakable, but the story departs from John Ford’s film in unexpected ways, escaping its confining European milieu as the pursuit assumes near-epic proportions in post-9/11 Afghanistan. This muscular debut, worthy of director Thomas Bidegain’s screenwriting collaborations with Jacques Audiard, yields a sweeping vision of a world in which the codes of the Old West no longer seem to hold. A Cohen Media Group release. U.S. Premiere
Don’t Blink: Robert Frank
Laura Israel, USA/Canada, 2015, DCP, 82m
The life and work of Robert Frank—as a photographer and a filmmaker—are so intertwined that they’re one in the same, and the vast amount of territory he’s covered, from The Americans in 1958 up to the present, is intimately registered in his now-formidable body of artistic gestures. From the early ’90s on, Frank has been making his films and videos with the brilliant editor Laura Israel, who has helped him to keep things homemade and preserve the illuminating spark of first contact between camera and people/places. Don’t Blink is Israel’s like-minded portrait of her friend and collaborator, a lively rummage sale of images and sounds and recollected passages and unfathomable losses and friendships that leaves us a fast and fleeting imprint of the life of the Swiss-born man who reinvented himself the American way, and is still standing on ground of his own making at the age of 90. World Premiere
Experimenter
Michael Almereyda, USA, 2014, DCP, 94m
Michael Almereyda’s brilliant portrait of Stanley Milgram, the social scientist whose 1961, Yale-based “obedience study” reflected back on the Holocaust and anticipated Abu Ghraib and other atrocities carried out by ordinary people who were just following orders, places its subject in an appropriately experimental cinema framework. The proverbial elephant in the room materializes on screen; Milgram (Peter Sarsgaard) sometimes addresses the camera directly as if to implicate us in his studies and the unpleasant truths they reveal. Remarkably, the film evokes great compassion for this uncompromising, difficult man, in part because we often see him through the eyes of his wife (Winona Ryder, in a wonderfully grounded performance), who fully believed in his work and its profoundly moral purpose. Almereyda creates the bohemian-tinged academic world of the 1960s through the 1980s with an economy that Stanley Kubrick might have envied. A Magnolia Pictures release.
The Forbidden Room
Guy Maddin & Evan Johnson, Canada, 2015, DCP, 120m
The four-man crew of a submarine are trapped underwater, running out of air. A classic scenario of claustrophobic suspense—at least until a hatch opens and out steps… a lumberjack? As this newcomer’s backstory unfolds (and unfolds and unfolds in over a dozen outlandish tales), Guy Maddin, cinema’s reigning master of feverish filmic fetishism, embarks on a phantasmagoric narrative adventure of stories within stories within dreams within flashbacks in a delirious globe-trotting mise en abyme the equals of any by the late Raúl Ruiz. Collaborating with poet John Ashbery and featuring sublime contributions from the likes of Jacques Nolot, Charlotte Rampling, Mathieu Amalric, legendary cult electro-pop duo Sparks, and not forgetting muses Louis Negin and Udo Kier, Maddin dives deeper than ever: only the lovechild of Josef von Sternberg and Jack Smith could be responsible for this insane magnum opus. A Kino Lorber release.
In the Shadow of Women / L’Ombre des femmes
Philippe Garrel, France, 2015, DCP, 73m
French with English subtitles
The new film by the great Philippe Garrel (previously seen at the NYFF with Regular Lovers in 2005 and Jealousy in 2013) is a close look at infidelity—not merely the fact of it, but the particular, divergent ways in which it’s experienced and understood by men and women. Stanislas Merhar and Clotilde Courau are Pierre and Manon, a married couple working in fragile harmony on Pierre’s documentary film projects, the latest of which is a portrait of a resistance fighter (Jean Pommier). When Pierre takes a lover (Lena Paugam), he feels entitled to do so, and he treats both wife and mistress with disengagement bordering on disdain; when Manon catches Pierre in the act, her immediate response is to find common ground with her husband. Garrel is an artist of intimacies and emotional ecologies, and with In the Shadow of Women he has added narrative intricacy and intrigue to his toolbox. The result is an exquisite jewel of a film. U.S. Premiere
Journey to the Shore / Kishibe no tabi
Kiyoshi Kurosawa, Japan/France, 2015, DCP, 127m
Japanese with English subtitles
Based on Kazumi Yumoto’s 2010 novel, Kiyoshi Kurosawa’s latest film begins with a young widow named Mizuki (Eri Fukatsu), who has been emotionally flattened and muted by the disappearance of her husband Yusuke (Tadanobu Asano). One day, from out of the blue or the black, Yusuke’s ghost drops in, more like an exhausted and unexpected guest than a wandering spirit. And then Journey to the Shorebecomes a road movie: Mizuki and Yusuke pack their bags, leave Tokyo, and travel by train through parts of Japan that we rarely see in movies, acclimating themselves to their new circumstances and stopping for extended stays with friends and fellow pilgrims that Yusuke has met on his way through the afterworld, some living and some dead. The particular beauty of Journey to the Shore lies in its flowing sense of life as balance between work and love, existence and nonexistence, you and me. U.S. Premiere
The Lobster
Yorgos Lanthimos, France/Netherlands/Greece/UK, 2015, DCP, 118m
In the very near future, society demands that we live as couples. Single people are rounded up and sent to a seaside compound—part resort and part minimum-security prison—where they are given a finite number of days to find a match. If they don’t succeed, they will be “altered” and turned into an animal. The recently divorced David (Colin Farrell) arrives at The Hotel with his brother, now a dog; in the event of failure, David has chosen to become a lobster… because they live so long. When David falls in love, he’s up against a new set of rules established by another, rebellious order: for romantics, there’s nowhere to run, nowhere to hide. Welcome to the latest dark, darkcomedy from Yorgos Lanthimos ( Dogtooth), creator of absurdist societies not so very different from our own. With Léa Seydoux as the leader of the Loners, Rachel Weisz as David’s true love, John C. Reilly, and Ben Whishaw. An Alchemy release.
Maggie’s Plan
Rebecca Miller, USA, 2015, DCP, 92m
Rebecca Miller’s new film is as wise, funny, and suspenseful as a Jane Austen novel. Greta Gerwig shines brightly in the role of Maggie, a New School administrator on the verge of completing her life plan with a donor-fathered baby when she meets John (Ethan Hawke), a soulful but unfulfilled adjunct professor. John is unhappily married to a Columbia-tenured academic superstar wound tighter than a coiled spring (Julianne Moore). Maggie and the professor commiserate, share confidences, and fall in love. And where most contemporary romantic comedies end, Miller’s film is just getting started. In the tradition of Woody Allen and Paul Mazursky, Miller approaches the genre of the New York romantic comedy with relish and loving energy. With Bill Hader and Maya Rudolph as Maggie’s married-with-children friends, drawn to defensive sarcasm like moths to a flame, and Travis Fimmel as Maggie’s donor-in-waiting. U.S. Premiere
The Measure of a Man / La Loi du marché
Stéphane Brizé, France, 2015, DCP, 93m
French with English subtitles
Vincent Lindon gives his finest performance to date as unemployed everyman Thierry, who must submit to a series of quietly humiliating ordeals in his search for work. Futile retraining courses that lead to dead ends, interviews via Skype, an interview-coaching workshop critique of his self-presentation by fellow jobseekers—all are mechanisms that seek to break him down and strip him of identity and self-respect in the name of reengineering of a workforce fit for an neoliberal technocratic system. Nothing if not determinist, Stéphane Brizé’s film dispassionately monitors the progress of its stoic protagonist until at last he lands a job on the front line in the surveillance and control of his fellow man—and finally faces one too many moral dilemmas. A powerful and deeply troubling vision of the realities of our new economic order. A Kino Lorber release. North American Premiere
Mia Madre
Nanni Moretti, Italy/France, 2015, DCP, 106m
Italian and English with English subtitles
Margherita (Margherita Buy) is a middle-aged filmmaker contending with shooting an international co-production with a mercurial American actor (John Turturro) and with the fact that her beloved mother (Giulia Lazzarini) is mortally ill. Underrated as an actor, director Nanni Moretti, offers a fascinating portrayal as Margherita’s brother, a quietly abrasive, intelligent man with a wonderfully tamped-down generosity and warmth. The construction of the film is as simple as it is beautiful: the chaos of the movie within the movie merges with the fear of disorder and feelings of pain and loss brought about by impending death. Mia Madre is a sharp and continually surprising work about the fragility of existence that is by turns moving, hilarious, and subtly disquieting. An Alchemy release. U.S. Premiere
Microbe & Gasoline / Microbe et Gasoil
Michel Gondry, France, 2015, DCP, 103m
French with English subtitles
The new handmade-SFX comedy from Michel Gondry ( Eternal Sunshine of the Spotless Mind, Be Kind Rewind) is set in an autobiographical key. Teenage misfits Microbe (Ange Dargent) and Gasoline (Théophile Baquet), one nicknamed for his size and the other for his love of all things mechanical and fuel-powered, become fast friends. Unloved in school and misunderstood at home—Microbe is overprotected, Gasoline is by turns ignored and abused—they decide to build a house on wheels (complete with a collapsible flower window box) and sputter, push, and coast their way to the camp where Gasoline went as a child, with a stop along the way to visit Microbe’s crush (Diane Besnier). Gondry’s visual imagination is prodigious, and so is his cultivation of spontaneously generated fun and off-angled lyricism, his absolute irreverence, and his emotional frankness. This is one of his freshest and loveliest films. With Audrey Tatou as Microbe’s mom. U.S. Premiere
Mountains May Depart
Jia Zhangke, China/France/Japan, 2015, DCP, 131m
Mandarin and English with English subtitles
The plot of Jia Zhangke’s new film is simplicity itself. Fenyang 1999, on the cusp of the capitalist explosion in China. Shen Tao (Zhao Tao) has two suitors—Zhang (Zhang Yi), an entrepreneur-to-be, and his best friend Liangzi (Liang Jin Dong), who makes his living in the local coal mine. Shen Tao decides, with a note of regret, to marry Zhang, a man with a future. Flash-forward 15 years: the couple’s son Dollar is paying a visit to his now-estranged mother, and everyone and everything seems to have grown more distant in time and space… and then further ahead in time, to even greater distances. Jia is modern cinema’s greatest poet of drift and the uncanny, slow-motion feeling of massive and inexorable change. Like his 2013 A Touch of Sin, Mountains May Depart is an epically scaled canvas. But where the former was angry and quietly terrifying, the latter is a heartbreaking prayer for the restoration of what has been lost in the name of progress. A Kino Lorber release. U.S. Premiere
My Golden Days / Trois Souvenirs de ma jeunesse
Arnaud Desplechin, France, 2015, DCP, 123m
French with English subtitles
Arnaud Desplechin’s alternately hilarious and heartrending latest work is intimate yet expansive, a true autobiographical epic. Mathieu Amalric—Jean-Pierre Léaud to Desplechin’s François Truffaut—reprises the character of Paul Dédalus from the director’s groundbreakingMy Sex Life... or How I Got Into an Argument (NYFF, 1996), now looking back on the mystery of his own identity from the lofty vantage point of middle age. Desplechin visits three varied but interlocking episodes in his hero’s life, each more surprising and richly textured than the next, and at the core of his film is the romance between the adolescent Paul (Quentin Dolmaire) and Esther (Lou Roy-Lecollinet). Most directors trivialize young love by slotting it into a clichéd category, but here it is ennobled and alive in all of its heartbreak, terror, and beauty. Le Monde recently referred to Desplechin as “the most Shakespearean of filmmakers,” and boy, did they ever get that right. My Golden Days is a wonder to behold. A Magnolia Pictures release. North American Premiere
No Home Movie
Chantal Akerman, Belgium/France, 2015, DCP, 115m
French and English with English subtitles
At the center of Chantal Akerman’s enormous body of work is her mother, a Holocaust survivor who married and raised a family in Brussels. In recent years, the filmmaker has explicitly depicted, in videos, books, and installation works, her mother’s life and her own intense connection to her mother, and in turn her mother’s connection to her mother. No Home Movie is a portrait by Akerman, the daughter, of Akerman, the mother, in the last years of her life. It is an extremely intimate film but also one of great formal precision and beauty, one of the rare works of art that is both personal and universal, and as much a masterpiece as her 1975 career-defining Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles. U.S. Premiere
Right Now, Wrong Then
Hong Sangsoo, South Korea, 2015, DCP, 121m
Korean with English subtitles
Ham Chunsu (Jung Jaeyoung) is an art-film director who has come to Suwon for a screening of one of his movies. He meets Yoon Heejung (Kim Minhee), a fledgling artist. She’s never seen any of his films but knows he’s famous; he’d like to see her paintings and then go for sushi and soju. Every word, every pause, every facial expression and every movement, is a negotiation between revelation and concealment: too far over the line for Chunsu and he’s suddenly a middle-aged man on the prowl who uses insights as tools of seduction; too far for Heejung and she’s suddenly acquiescing to a man who’s leaving the next day. So they walk the fine line all the way to a tough and mordantly funny end point, at which time… we begin again, but now with different emotional dynamics. Hong Sangsoo, represented many times in the NYFF, achieves a maximum of layered nuance with a minimum of people, places, and incidents. He is, truly, a master.U.S. Premiere
The Treasure / Comoara
Corneliu Porumboiu, Romania, 2015, DCP, 89m
Romanian with English subtitles
Costi (Cuzin Toma) leads a fairly quiet, unremarkable life with his wife and son. He’s a good provider, but he struggles to make ends meet. One evening there’s a knock at the door. It’s a stranger, a neighbor named Adrian (Adrian Purcarescu), with a business proposal: lend him some money to find a buried treasure in his grandparents’ backyard and they’ll split the proceeds. Is it a scam or a real treasure hunt? Corneliu Porumboiu’s ( When Evening Falls on Bucharest or Metabolism, NYFF 2013) modern-day fable starts like an old Honeymoonersepisode with a get-rich-quick premise, gradually develops into a shaggy slapstick comedy, shifts gears into a hilariously dry delineation of the multiple layers of pure bureaucracy and paperwork drudgery, and ends in a new and altogether surprising key. Porumboiu is one of the subtlest artists in movies, and this is one of his wryest films, and his most magical.
Where To Invade Next
Michael Moore, USA, 2015, DCP, 110m
Where are we, as Americans? Where are we going as a country? And is it where we want to go, or where we think we have to go? SinceRoger & Me in 1989, Michael Moore has been examining these questions and coming up with answers that are several worlds away from the ones we are used to seeing and hearing and reading in mainstream media, or from our elected officials. In his previous films, Moore has taken on one issue at a time, from the hemorrhaging of American jobs to the response to 9/11 to the precariousness of our healthcare system. In his new film, he shifts his focus to the whole shebang and ponders the current state of the nation from a very different perspective: that is, from the outside looking in. Where To Invade Next is provocative, very funny, and impassioned—just like all of Moore’s work. But it’s also pretty surprising. U.S. Premiere
Labels: 53rd New York Film Festival, Ben Kingsley, Danny Boyle, Don Cheadle, Joseph Gordon-Levitt. Philippe Petit, MILES AHEAD, NYFF 2015, Robert Zemeckis, Steve Jobs, Steven Spielberg, THE WALK, Tom Hanks
