{"id":3712,"date":"2016-09-21T13:33:30","date_gmt":"2016-09-21T17:33:30","guid":{"rendered":"http:\/\/hunterword.com\/?p=3712"},"modified":"2017-04-30T23:35:53","modified_gmt":"2017-05-01T03:35:53","slug":"new-york-film-festival-54th-lineup-for-annual-avant-garde-showcase-projections","status":"publish","type":"post","link":"http:\/\/hunterword.com\/index.php\/new-york-film-festival-54th-lineup-for-annual-avant-garde-showcase-projections\/","title":{"rendered":"New York Film Festival 54th Lineup for Annual Avant-Garde Showcase, Projections"},"content":{"rendered":"

\"nyff54\"<\/a><\/p>\n

The showcase takes place October 7-9 and the slate is comprised of 11 programs presenting an international selection of film and video work that expands upon our notions of what the moving image can do and be. Drawing on a broad range of innovative modes and techniques, including experimental narratives, avant-garde poetics, crossovers into documentary and ethnographic realms, and contemporary art practices, Projections brings together a diverse offering of short, medium, and feature-length work by some of today\u2019s most vital and groundbreaking visual artists.<\/p>\n

\u201cWith the third edition of Projections, in the belief that artistic radicalism takes many forms, we’re casting a wider net than ever,\u201d said Dennis Lim, FSLC Director of Programming and one of the curators of Projections. \u201cThis is a section of the festival that we hope reflects the perennially fluid nature of experimental moving-image work, the fascinating and exhilarating ways in which visionary artists are always reinventing the medium to both mirror and shape the historical moment.”<\/p>\n

“This may be our most eclectic and energizing lineup yet, juxtaposing major figures of the avant-garde with promising up-and-comers, ranging from abstract short work to feature-length semi-narratives, combining and straddling genres, registers, and generations.\u201d<\/p>\n

This year\u2019s lineup features 44 films in 11 programs with 10 world premieres, five North American premieres, and 13 U.S. premieres. Among the highlights are Eduardo Williams\u2019s The Human Surge, winner of the top prize in Locarno\u2019s 2016 Filmmakers of the Present section; world premieres of new work by visual poets Nathaniel Dorsky and Jerome Hiler, the subjects of last year\u2019s NYFF Retrospective; features including Deborah Stratman\u2019s The Illinois Parables and Dane Komljen\u2019s All the Cities of the North; and the U.S. premiere of H\u00e1 Terra!, directed by 2015 Kazuko Trust Award winner Ana Vaz. This year\u2019s recipient of the Kazuko Award, which recognizes artistic excellence and innovation and is awarded to an emerging filmmaker in the Projections lineup, will be announced in September.<\/p>\n

Twenty works will screen on celluloid (15 on 16mm and five on 35mm), including several of this year\u2019s repertory selections: restorations of avant-garde luminary Robert Beavers\u2019s From the Notebook of\u2026 (1971\/1998) and three historical films by legendary Canadian filmmaker David Rimmer, preserved by the Academy Film Archive, as well as a tribute to the late Peter Hutton with a screening of his In Titan\u2019s Goblet.<\/p>\n

Projections also features premieres from returning filmmakers Luke Fowler (For Christian), Janie Geiser (Flowers of the Sky), John Smith (Steve Hates Fish), Jesse McLean (See a Dog, Hear a Dog), Kevin Jerome Everson (Ears, Nose and Throat), Tomonari Nishikawa (Ten Mornings Ten Evenings and One Horizon), and many more; the NYFF debuts of acclaimed visual artists Mark Leckey (Dream English Kid, 1964\u20131999 AD), Rosalind Nashashibi (Electrical Gaza), Steve Reinke (A Boy Needs a Friend), Lawrence Lek (Europa, Mon Amour), Clemens von Wedemeyer (The Horses of a Cavalry Captain), Rosa Barba (Bending to Earth), and Stephen Sutcliffe (Twixt Cup and Lip); and a few Film Society of Lincoln Center alums new to Projections\u2014James N. Kienitz Wilkins (Indefinite Pitch), who was in last year\u2019s NYFF New York shorts program, and filmmakers Komljen and Williams, whose work has screened in the Film Society\u2019s Art of the Real festival.<\/p>\n

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

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

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

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

For even more access, VIP passes and subscription packages offer the earliest opportunities to purchase tickets and secure seats at some of the festival’s biggest events including Opening and Closing Nights, and Centerpiece. VIP passes also provide access to many exciting events, including the invitation-only Opening Night party, \u201cAn Evening With\u2026\u201d dinner, Filmmaker Brunch, and VIP Lounge. Benefits vary based on the pass or package type purchased. VIP passes and subscription packages are on sale now. Learn more at filmlinc.org\/NYFF.<\/p>\n

 <\/p>\n

FILMS & DESCRIPTIONS<\/strong><\/p>\n

All films screen digitally at the Elinor Bunin Munroe Film Center (144 W. 65th St.) unless otherwise noted.<\/p>\n

Program 1: THE SPACES BETWEEN THE WORDS
\nFriday, October 7, 4:00pm
\nSaturday, October 8, 3:00pm
\nTRT: 81m<\/p>\n

REGAL
\nKarissa Hahn, USA, 2015, 16mm, 2m
\nAn old Regal Cinemas pre-show animation is further degraded as it\u2019s run through a ringer of format transfers, each layer representing a different viewing space.<\/p>\n

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

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

Now: End of Season
\nAyman Nahle, Lebanon, 2015, 20m
\nU.S. Premiere
\nIn the cosmopolitan Turkish city of Izmir, thousands of Syrians fleeing Assad, ISIS, and the proxy forces lined up behind them, bide their time, waiting to cross the Aegean Sea. On the soundtrack, voices from a previous war.<\/p>\n

See a Dog, Hear a Dog
\nJesse McLean, USA, 2016, 18m
\nWorld Premiere
\nThis tragicomic analysis of communication between humans, animals, and machines was made with original video footage, computer animations, and internet media, including YouTube dog videos, chatbot dialogue windows, and images from iTunes visualizer.<\/p>\n

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

\n

 <\/p>\n

Program 2: BEYOND LANDSCAPE
\nFriday, October 7, 6:30pm
\nSaturday, October 8, 5:15pm
\nTRT: 78m<\/p>\n

Burning Mountains That Spew Flame \/ Monta\u00f1as Ardientes Que Vomitan Fuego
\nHelena Gir\u00f3n and Samuel Delgado, Spain, 2016, 14m
\nU.S. Premiere
\nScientific claims made by 17th-century Jesuit polymath Athanasius Kircher and political ones made by the Invisible Committee are examined in this journey into the volcanoes of Lanzarote.<\/p>\n

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

Ten Mornings Ten Evenings and One Horizon
\nTomonari Nishikawa, Japan, 2016, 16mm, 10m
\nU.S. Premiere
\nDelivering exactly what his title promises\u2014but not necessarily in the order you\u2019d expect\u2014Nishikawa presents 20 sequences shot along Japan\u2019s Yahagi River; images tautly suspended between stillness and movement, darkness and light.<\/p>\n

Canadian Pacific I
\nDavid Rimmer, Canada, 1974, 16mm, 9m
\nScenes taken from a single, second-floor view of Vancouver Harbor, recorded over three winter months, pieced together with subtle dissolves so as to resemble one ten-minute shot. \u201cIts formalism is very unimposing,\u201d wrote Jonas Mekas, \u201clike in a Hudson School painting.\u201d<\/p>\n

J\u00e1aji Approx.
\nSky Hopinka, USA, 2015, 8m
\nHopkina\u2019s video address to his father is made of landscape images saturated with dark shadow and dreamy light, and features his father\u2019s own words taken from recordings of Ho\u010dak language songs and chants.<\/p>\n

Bad Mama, Who Cares
\nBrigid McCaffrey, USA, 2016, 35mm, 12m
\nWorld Premiere
\nGeologist Ren Lallatin inhabits different spaces\u2014of brilliant snow and blazing sun, rundown towns and little-trodden deserts\u2014in this structural-lyrical landscape film shot on richly tinted film.<\/p>\n

Ears, Nose and Throat
\nKevin Jerome Everson, USA, 2016, 10m
\nEverson returns to his hometown of Mansfield, Ohio, in this unblinking look at the simultaneity of the tragic and the mundane in black American life. The subject is the 2010 murder of 25-year-old DeCarrio Couley, who appeared in a number of Everson\u2019s earlier films.<\/p>\n

\n

 <\/p>\n

Program 3: THE ILLINOIS PARABLES
\nFriday, October 7, 8:45pm
\nTRT: 70m<\/p>\n

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

__________<\/p>\n

Preceded by,
\nThe Horses of a Cavalry Captain \/ Die Pferde des Rittmeisters
\nClemens von Wedemeyer, Germany, 2015, 10m
\nNorth American Premiere
\nDuring World War II, Wehrmacht captain Harald von Vietinghoff-Riesch traveled in advance of the army scouting for barracks. An amateur cinematographer, he also made 16mm images behind the front. Part of a larger project, Die pferde des Rittmeisters, made by Vietinghoff-Riesch\u2019s grandson, presents footage of the cavalry horses, the artist\u2019s commentary never letting us forget that these attractive creatures were also Nazi machines.<\/p>\n

Program 4: FADE OUT
\nSaturday, October 8, 2:00pm
\nSaturday, October 8, 7:30pm
\nTRT: 76m<\/p>\n

Old Hat
\nZach Iannazzi, USA, 2016, 16mm, 8m
\nA scrapbook of 16mm images made on the fly, the length of each determined by the position of the Bolex spring when the shot begins. Some shove past as quickly as slides in a carousel advanced at top speed; others\u2014etching the explosive ascent of fireworks in high-contrast white, or the arc of the setting sun on the mirrored glass of an office tower\u2014linger.<\/p>\n

Flowers of the Sky
\nJanie Geiser, USA, 2016, 9m
\nU.S. Premiere
\nNamed after a medieval term for comets, Flowers of the Sky finds a seemingly infinite number of ways of looking at and into two mid-century postcards depicting the Freemasonic Order of the Eastern Star, using a macro lens and a variety of printing and masking techniques.<\/p>\n

Answer Print
\nM\u00f3nica Savir\u00f3n, USA, 2016, 16mm, 5m
\nWorld Premiere
\nAnswer Print is assembled with pieces of deteriorating 16mm color stock. Not only the images themselves but also the world that produced them and which they reproduce\u2014here suspended in the red aspic of faded color dye\u2014threatens to disappear.<\/p>\n

Athyrium filix-femina (for Anna Atkins)
\nKelly Egan, Canada, 2016, 35mm, 5m
\nWorld Premiere
\nThis homage to botanist and photography pioneer Anna Atkins was made in cyanotype photograms and reanimated film stills on stock exposed in the sun. Handcrafted with historically domestic, feminine tools, it\u2019s structured as a narrative in quilting patterns.<\/p>\n

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

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

Cilaos
\nCamilo Restrepo, France, 2016, 13m
\nU.S. Premiere
\nA woman takes her mother\u2019s dying wish to the father she never knew; he is dead but not gone from the R\u00e9union Islands village of Cilaos, historically a Maroon community. With the collaboration of renowned singer Christine Salem, Restrepo develops a trans-diasporic narrative form built on the slave rhythms of R\u00e9unionese maloya and Colombian mapal\u00e9.<\/p>\n

Luna e Santur
\nJoshua Gen Solondz, USA, 2016, 35mm, 11m
\nU.S. Premiere
\nMingling sex and death with the supernatural and subnaturalistic, this visually assaultive threnody alternates white hot light with furious streaks of cruddy black goop, pushing the eye and the ego to their breaking points.<\/p>\n

Program 5: SITE AND SOUND
\nSaturday, October 8, 4:15pm
\nSunday, October 9, 12:30pm
\nTRT: 84m<\/p>\n

Indefinite Pitch
\nJames N. Kienitz Wilkins, USA, 2016, 23m
\nA procession of black and silvery white stills of New England\u2019s Androscoggin River unspools alongside an anxious monologue on movies, memory, and minor history.<\/p>\n

Europa, Mon Amour (2016 Brexit Edition)
\nLawrence Lek, UK, 2016, 14m
\nNorth American Premiere
\nThis guided, two-part meditation on Brexit unfolds in a computer-simulated hallucination of the London district of Dalston, a place with no people but filled with drones and fires.<\/p>\n

Strange Vision of Seeing Things
\nRyan Ferko, Canada\/Serbia, 2016, 14m
\nU.S. Premiere
\nTime-spaces of post-Yugoslav Serbia: the empty lobby of a defunct industrial conglomerate\u2019s headquarters in Belgrade; an unseen man describing tripping on acid during the 1999 NATO bombings; a mother and her young son visit ruins left by that same campaign. At first they appear in crisp HD, but cracks form, revealing dimensions beneath the smooth surface.<\/p>\n

Foyer
\nIsma\u00efl Bahri, France\/Tunisia, 2016, 32m
\nU.S. Premiere
\nA white haze flutters on-screen, accompanied by street sounds in Tunis. Indistinct shapes appear as passersby engage the cameraman about his project and their lives. He tells one of them, \u201cThe wind does the editing.\u201d<\/p>\n

\n

 <\/p>\n

Program 6: ALL THE CITIES OF THE NORTH
\nSaturday, October 8, 6:45pm<\/p>\n

All the Cities of the North \/ Svi severni gradovi
\nDane Komljen, Serbia\/Bosnia-Herzegovina\/Montenegro, 2016, 100m
\nNorth American Premiere
\nIn the darkly wooded grounds and concrete boxes of what was once a Yugoslav resort complex, two men share an enigmatic, tender life. A stranger comes to town; things change, but how, what, and why remain ambiguous. In Komljen\u2019s richly suggestive, quietly moving elegy to lost utopias, no words are exchanged, and speech only comes in monologues, taking up questions on the architecture and administration of human sociality.<\/p>\n

\n

 <\/p>\n

Program 7: POP CULTURE CLASH
\nSaturday, October 8, 9:30pm
\nSunday, October 9, 3:00pm
\nTRT: 63m<\/p>\n

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

Spotlight on a Brick Wall
\nAlee Peoples and Mike Stoltz, USA, 2016, 16mm, 8m
\nAn abstracted nightclub performance, its constituent parts\u2014stand-up comedy, a capella, a laconic bass-and-drum rock duo, a slapstick mime\u2014wrenched apart and recombined.<\/p>\n

Return to Forms
\nZachary Epcar, USA, 2016, 10m
\nWorld Premiere
\nThe surfaces and shapes of typical international contempo yuppie style are defamiliarized, staged in and around a condo in an unnamed urban environment.<\/p>\n

Dream English Kid, 1964\u20131999 AD
\nMark Leckey, UK, 2015, 16mm, 23m
\nNorth American Premiere
\nDream English Kid traces the cultural developments in the life of a working-class English boy, between the start of the Nuclear Test Ban and Azzido Da Bass\u2019s first EP, as a collage of images and sounds, locating the broadly shared within the idiosyncratic and personal.<\/p>\n

\n

 <\/p>\n

Program 8: DORSKY AND HILER
\nSunday, October 9, 1:00pm
\nSunday, October 9, 5:00pm
\nTRT: 65m<\/p>\n

Autumn
\nNathaniel Dorsky, USA, 2016, 16mm, 26m
\nWorld Premiere
\n\u201cAutumn, photographed during the last months of the drought year, 2015, is a stately, but intimate, seasonal tome, a celebration of the poignancy and mystery of our later years.\u201d \u2014Nathaniel Dorsky<\/p>\n

The Dreamer
\nNathaniel Dorsky, USA, 2016, 16mm, 19m
\nWorld Premiere
\n\u201cThis year our midsummer\u2019s night was adorned with a glorious full moon. The weeks and days preceding the solstice were magically alive with crisp, cool breezes, bright warm sunlight, and a general sense of heartbreaking clarity. The Dreamer is born out of this most poignant San Francisco spring.\u201d \u2014Nathaniel Dorsky<\/p>\n

Bagatelle II
\nJerome Hiler, USA, 2016, 16mm, 20m
\nWorld Premiere
\n\u201cWith Bagatelle II, I seem to have come full circle by returning to the so-called polyvalent style of my earliest film endeavors from 50 years ago. The film actually includes material from all the intervening decades. It’s both up to the moment yet life-spanning, with a thread of deep affection for the special characteristics of 16mm film.\u201d \u2014Jerome Hiler<\/p>\n

\n

 <\/p>\n

Program 9: EVENT HORIZONS
\nSunday, October 9, 3:15pm
\nSunday, October 9, 7:00pm
\nTRT: 81m<\/p>\n

H\u00e1 Terra!
\nAna Vaz, Brazil\/France, 2016, 13m
\nU.S. Premiere
\nThe camera jerks quickly across a field in the Brazilian Sert\u00e3o, homing in on a young Maroon woman crouching in the tall grass. A hand feels around in the brush, caressing the earth. From these two images, Ana Vaz\u2019s film proceeds on tracks that neither fully merge nor completely diverge, expressing the incommensurability of filmmaker and subject.<\/p>\n

Kindah
\nEphraim Asili, USA\/Jamaica, 2016, 12m
\nWorld Premiere
\nShot between the Maroon village of Accompong, Jamaica, and Hudson, New York, the alternately sparse and exultantly polyrhythmic Kindah is part of a series of films examining the filmmaker’s relationship to the African diaspora. The title alludes to the mango tree that symbolizes common kinship in the Jamaican Maroon culture.<\/p>\n

In Titan\u2019s Goblet
\nPeter Hutton, USA, 1991, 16mm, 9m
\nTitled after a painting by Thomas Cole, this work of Hudson River School landscape filmmaking by the late Peter Hutton is a study of ships and smoke on the water.<\/p>\n

An Aviation Field \/ Um Campo de Avia\u00e7\u00e3o
\nJoana Pimenta, Portugal\/USA\/Brazil, 2016, 13m
\nU.S. Premiere
\nUsing warm, darkly saturated 16mm images shot on the volcanic island of Fogo, Cape Verde, and in modernist Brasilia, and sounds that range between trebly crackle and aquatic gurgle, Pimenta constructs a surreal and mythical landscape from the remnants of Portuguese colonialism.<\/p>\n

Electrical Gaza
\nRosalind Nashashibi, UK, 2015, 18m
\nCommissioned by London\u2019s Imperial War Museum, Electrical Gaza combines v\u00e9rit\u00e9 documentary scenes of public life in Gaza shot by Nashashibi in 2014, portraits of her crew, and uncanny, painterly computer animations modeled from the footage, rendering it unreal\u2014as the Israeli government would claim and Palestinians would like to make it.<\/p>\n

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

\n

 <\/p>\n

Program 10: FROM THE NOTEBOOK OF . . .
\nSunday, October 9, 5:30pm
\nTRT: 55m<\/p>\n

From the Notebook of\u2026
\nRobert Beavers, Italy\/Switzerland, 1971\/1998, 35mm, 48m
\nNorth American Restoration Premiere
\nAn essential film by one of cinema\u2019s living masters, forged from the brilliant light of Florence streets and the shadow of an old pensionne, this astounding work of public science and private experience was inspired by Leonardo Da Vinci\u2019s notebooks. According to P. Adams Sitney, this is \u201cthe first film of [Beavers\u2019] artistic maturity.\u201d<\/p>\n

Preceded by
\nFor Christian
\nLuke Fowler, UK\/USA, 2016, 16mm, 7m
\nFowler\u2019s portrait of New York School composer Christian Wolff continues his investigation into the legacies of 20th-century avant-garde music. Short, handheld shots taken at Wolff\u2019s New Hampshire farm are assembled in diagonal relation to a soundtrack that features snippets of conversation with Wolff and passages from his compositions.<\/p>\n

\n

 <\/p>\n

Program 11: THE HUMAN SURGE
\nSunday, October 9, 7:30pm
\nTRT: 97m<\/p>\n

The Human Surge \/ El auge del humano
\nEduardo Williams, Argentina\/Brazil\/Portugal, 2016, 97m
\nU.S. Premiere
\nA twenty-something in Argentina loses his warehouse job. Boys in Maputo, Mozambique, perform half-hearted sex acts in front of a webcam. A woman in the Philippines assembles electronics in a small factory. Williams\u2019s inquisitive camera is in constant motion, as are his rootless characters, who wander aimlessly, make small talk, futz with their phones, and search for a working Internet connection. Unfolding within the unfree time between casual jobs, this wildly original rumination on labor and leisure in the global digital economy seems to take place in both the immediate present and the far horizon of the foreseeable future. Winner of the top prize in the 2016 Locarno Film Festival\u2019s Filmmakers of the Present section.<\/p>\n

 <\/p>\n

\n

FILM SOCIETY OF LINCOLN CENTER<\/strong>
\nThe 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.\u2019s 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.<\/p>\n

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

Support for the New York Film Festival is also generously provided by Jaeger-LeCoultre, the Mayor’s Office of Media and Entertainment, and the New York Public Library for the Performing Arts.<\/p>\n

For more information about the New York Film Festival, visit filmlinc.org\/NYFF. For the latest news, subscribe to the festival\u2019s newsletter, follow the festival on Facebook and Twitter, and use the hashtag: #NYFF.<\/p>\n

 <\/p>\n

Gregg Morris can be reached at gmorris@hunter.cuny.edu<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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