{"id":7234,"date":"2017-09-09T19:11:42","date_gmt":"2017-09-09T23:11:42","guid":{"rendered":"http:\/\/hunterword.com\/?p=7234"},"modified":"2017-12-26T11:53:36","modified_gmt":"2017-12-26T16:53:36","slug":"gregg-w-morris-17","status":"publish","type":"post","link":"http:\/\/hunterword.com\/index.php\/gregg-w-morris-17\/","title":{"rendered":"Special Events and Shorts for the 55th New York Film Festival"},"content":{"rendered":"
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Includes World Premiere docs about Steven Spielberg, Bob Dylan, and the Metropolitan Opera; a series of four new films by Claude Lanzmann; a conversation with Kate Winslet and a master class with cinematographers Vittorio Storaro and Ed Lachman; a new restoration of G.W. Pabst\u2019s Pandora\u2019s Box<\/i> premiering a new score; the return of Film Comment<\/i> Presents; and more<\/h3>\n

Bruce Weber\u2019s work-in-progress Robert Mitchum documentary added to Retrospective Section<\/h3>\n<\/div>\n<\/div>\n
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Special Events will feature the world premieres of three major documentaries: Susan Lacy\u2019s Spielberg<\/i>, which chronicles the cinema titan\u2019s remarkable career and screens with the director and subject in person; Jennifer Lebeau\u2019s Trouble No More<\/i>, a concert film that punctuates rare, recently rediscovered footage from Bob Dylan\u2019s \u201979-\u201980 tour with a beautiful performance by Michael Shannon; and Susan Froemke\u2019s The Opera House<\/i>, a history of the Metropolitan Opera and a love letter to the art form that will have a special screening in the Metropolitan Opera House at Lincoln Center. Claude Lanzmann returns to NYFF with the World Premiere of his four-film series Four Sisters<\/i>, created from interviews conducted in the 1970s with four Eastern European women who impossibly survived the Holocaust.<\/p>\n

Additional highlights include a new restoration of G.W. Pabst\u2019s silent magnum opus Pandora\u2019s Box<\/i>, screening with the world premiere of a new orchestral score by Jonathan Ragonese performed live; Rory Kennedy\u2019s Without a Net<\/i>, an examination of the many technologically underserved schools across the country; and two talks with luminaries from this year\u2019s festival\u2014a far-ranging conversation with Kate Winslet about her career and her unforgettable performance in this year\u2019s Closing Night selection, Woody Allen\u2019s Wonder Wheel<\/i>, and a Master Class with Vittorio Storaro and Ed Lachman, the brilliant cinematographers behind the Closing and Centerpiece films.<\/p>\n

The fifth annual Film Comment <\/i>Presents selection is the U.S. premiere of 2017 Cannes competition selection A Gentle Creature<\/i>, an incisive, tragicomic vision of today\u2019s Russia directed by Sergei Loznitsa and inspired by a Dostoevsky short story. In previous years,Film Comment <\/i>has championed films such as Terence Davies\u2019s A Quiet Passion<\/i>, Steve McQueen\u2019s 12 Years a Slave<\/i>, and L\u00e1szl\u00f3 Nemes\u2019s Son of Saul<\/i>. The magazine will also host three live events: a roundtable discussion with festival filmmakers about their experiences as movie lovers and creators, a dialogue on the representation of race and immigration in cinema history, and a critical wrap report of the festival\u2019s highs and lows. All three will also be recorded for the weekly Film Comment<\/i> Podcast.<\/p>\n

The festival also showcases 24 short films across four programs as part of the NYFF Main Slate. Highlights include Qiu Yang\u2019s A Gentle Night<\/i>, winner of the Short Film Palme d\u2019Or at Cannes this year; new work by returning filmmakers Jason Giampietro, John Wilson, Riccardo Giacconi, and Pacho Velez; and world premieres of Ashley Connor & Joe Stankus\u2019s The Layover<\/i>, Adinah Dancyger\u2019s Cheer Up Baby<\/i>, Gabriel de Urioste\u2019s Program<\/i>, Damien Power\u2019s Hitchhiker<\/i>, and Wilson\u2019s The Road to Magnasanti<\/i>.<\/p>\n

Finally, the New York Film Festival is pleased to announce a late addition to the Retrospective honoring Robert Mitchum\u2019s centenary: Bruce Weber\u2019s Nice Girls Don\u2019t Stay for Breakfast<\/i>, a work-in-progress portrait of Mitchum the man, a flawed soul and true artist, which Weber began shooting more than twenty years ago.<\/p>\n

The 18-day New York Film Festival highlights the best in world cinema, featuring works from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Kent Jones, also includes Dennis Lim, FSLC Director of Programming; Florence Almozini, FSLC Associate Director of Programming; and Amy Taubin, contributing editor for Film Comment<\/i> and Artforum<\/i>. Shorts are programmed by Laura Kern, Gabi Madsen, Dan Sullivan, and Tyler Wilson.<\/p>\n

As previously announced, the NYFF55 Opening Night is Richard Linklater\u2019s Last Flag Flying<\/i>, Todd Haynes\u2019s Wonderstruck<\/i> is Centerpiece, Woody Allen\u2019s Wonder Wheel<\/i> is Closing Night, and the Retrospective honors Robert Mitchum\u2019s centenary. The Main Slate lineup can be found here<\/a>, along with Projections<\/a>, Revivals<\/a>, and Convergence<\/a>, and the festival schedule can be viewed here<\/a>.<\/p>\n

Tickets for the 55th New York Film Festival will go on sale\u00a0September 10 at noon. Becoming a Film Society Member at the Film Buff Level or above provides early ticket access to festival screenings and events ahead of the general public, along with the exclusive member ticket discount and brand new member benefits and offers available throughout NYFF. Learn more at\u00a0filmlinc.org\/membership<\/a>.<\/p>\n

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

FILMS & DESCRIPTIONS<\/u><\/b><\/p>\n

A Conversation with Kate Winslet<\/b>
\n<\/b>For more than twenty years, Kate Winslet has proven herself one of the most expressive actors in movies, from her astonishing breakouts in Heavenly Creatures <\/i>(1994), Sense and Sensibility<\/i> (1995), and Titanic<\/i> (1997), to the increasingly internalized characterizations of Eternal Sunshine of the Spotless Mind<\/i> (2004), Revolutionary Road <\/i>(2008), The Reader <\/i>(2008), for which she won an Oscar, and Steve Jobs<\/i> (2015), a NYFF centerpiece. This year, Winslet stars in the NYFF festival closer, Wonder Wheel,<\/i> directed by Woody Allen, and her blistering, unpredictable, vanity-free performance is destined to be remembered as one of her greatest. Join Kate Winslet in a special live onstage event in which she talks about this latest role, and her career in general.<\/p>\n

Claude Lanzmann\u2019s Four Sisters
\n<\/b>The Hippocratic Oath<\/i> (France, 2017, 89m)
\nBaluty<\/i> (France, 2017, 64m)
\nThe Merry Flea<\/i> (France, 2017, 52m)
\nNoah\u2019s Ark<\/i> (France, 2017, 68m)
\nWorld Premiere
\n<\/b>Since 1999, Claude Lanzmann has made several films that could be considered satellites of Shoah<\/i>, comprised of interviews conducted in the 1970s that didn\u2019t make it into the final, monumental work. He has just completed a series of four new films, built around four women from four different areas of Eastern Europe with four different destinies, each finding herself unexpectedly and improbably alive after war\u2019s end: Ruth Elias from Ostravia, Czechoslovakia; Paula Biren from Lodz, Poland; Ada Lichtman from further south in Krakow; and Hannah Marton from Cluj, or Kolozsv\u00e1r, in Transylvania. \u201cWhat they have in common,\u201d wrote Lanzmann, \u201capart from the specific horrors each one of them was subjected to, is their intelligence, an incisive, sharp and carnal intelligence that rejects all pretence and false reasons\u2014in a word\u2014idealism.\u201d What is so remarkable about Lanzmann\u2019s films is the way that they stay within the immediate present tense, where the absolute horror of the shoah is always happening.<\/p>\n

The Opera House
\n<\/b>Dir. Susan Froemke, USA, 2017, 108m
\nWorld Premiere
\n<\/b>Renowned documentarian Susan Froemke takes viewers through the history of the Metropolitan Opera via priceless archival stills, footage, and interviews (with, among many others, the great soprano Leontyne Price). The film follows the development of the glorious institution from its beginnings at the old opera house on 39th Street to the storied reign of Rudolph Bing to the long-gestating move to Lincoln Center, the construction of which traces a fascinating byway through the era of urban renewal and Robert Moses\u2019s transformation of New York. Most of all, though, this is a film about the love for and devotion to the preservation of an art form, and the upkeep of a home where it can live and thrive.
\nThis screening will take place at the Metropolitan Opera House at Lincoln Center.<\/i><\/p>\n

Pandora\u2019s Box
\n<\/b>Dir. G.W. Pabst, Germany, 1929, 143m
\nPabst\u2019s immortal film version of the Frank Wedekind play gave us one of the most enduring presences in cinema. \u201cIs the movie’s resident Pandora, Louise Brooks, inside the character of Lulu or is Lulu inside her?\u201d wrote J. Hoberman in The Village Voice.<\/i> As Brooks herself put it to Kenneth Tynan, \u201cIt was clever of Pabst to know even before he met me that I possessed the tramp essence of Lulu.” Lulu, in Hoberman\u2019s words, was a \u201cnew kind of femme fatale\u2014generous, manipulative, heedless, blank, democratic in her affections, ambiguous in her sexuality.\u201d She has inspired countless helmet-haired imitators, but she still reigns supreme. Featuring the world premiere of a new orchestral score composed and conducted by Jonathan Ragonese. A Janus Films release.<\/p>\n

DCP courtesy of the Deutsche Kinemathek from the restoration based on elements contributed by the Cin\u00e9math\u00e8que Fran\u00e7aise, Gosfilmofond and the <\/i>N\u00e1rodn\u00ed Filmov\u00fd Archiv<\/i> in Prague undertaken at Cineteca di Bologna. The work was helmed by the George Eastman House and Big Sound with funding provided by Hugh M. Hefner.
\n<\/i>This evening is generously supported by Ira Resnick.<\/i><\/p>\n

Spielberg
\n<\/b>Dir. Susan Lacy, USA, 2017, 147m
\nWorld Premiere
\n<\/b>Susan Lacy\u2019s new film traces the private, public, and artistic development of one of cinema\u2019s true giants, from his early love of moviemaking as a kid growing up in all-American suburbia, through his sudden rise to superstardom with Jaws, <\/i>to his establishment of a film-and-TV empire with DreamWorks and beyond. All along the way, Spielberg has approached every new film as if it were his first. Featuring interviews with friends and contemporaries in the \u201cNew Hollywood\u201d (Francis Coppola, Brian De Palma, George Lucas, Martin Scorsese); key artistic collaborators (including Tom Hanks, John Williams, longtime DP Janusz Kami\u0144ski); and, the film\u2019s most touching presences, Spielberg\u2019s beloved sisters and parents, Arnold and Leah. An HBO Documentary Film.<\/p>\n

Trouble No More
\n<\/b>Dir. Jennifer Lebeau, USA, 2017, 59m
\nWorld Premiere
\n<\/b>Like every other episode in the life of Bob Dylan, the \u201cborn again\u201d period that supposedly began with the release of Slow Train Coming <\/i>(1979) and supposedly ended with Shot of Love<\/i> (1981) has been endlessly scrutinized in the press. Less attention has been paid to the magnificent music he made. This very special film consists of truly electrifying video footage, <\/b>much of it thought to have been lost for years and all newly restored, shot at shows in Toronto and Buffalo on the last leg of the \u201979-\u201980 tour (with an amazing band: Muscle Shoals veteran Spooner Oldham and Terry Young on keyboards, Little Feat\u2019s Fred Tackett on guitar, Tim Drummond on bass, the legendary Jim Keltner on drums and Clydie King, Gwen Evans, Mona Lisa Young, Regina McCrary and Mary Elizabeth Bridges on vocals) interspersed with sermons written by Luc Sante and beautifully delivered by Michael Shannon. More than just a record of some concerts, Trouble No More <\/i>is a total experience<\/i>.<\/p>\n

Master Class: Vittorio Storaro and Ed Lachman
\n<\/b>The cinematographers behind two of this year’s true visual wonders\u2014titled, appropriately, Wonderstruck<\/i> and Wonder Wheel<\/i>\u2014sit down with NYFF Director Kent Jones for a conversation about the craft of cinematography and their own astonishing careers in particular. Vittorio Storaro, who has had lengthy creative partnerships with Bernardo Bertolucci, Francis Coppola, and Carlos Saura, has now worked with Woody Allen to create one of his greatest aesthetic achievements; Ed Lachman, who has worked extensively with many filmmakers from Wim Wenders to Steven Soderbergh, is now perhaps best known for his collaboration with Todd Haynes, with whom he has created a remarkable movie set in two wholly distinct lost worlds: New York in the twenties and the seventies.<\/p>\n

Without a Net
\n<\/b>Dir. Rory Kennedy, USA, 2017, 56m
\nMany of us assume that the world, or at least the country, is now fully connected, but throughout American classrooms there exists a digital divide. In a shockingly large number of schools, access to technology, connectivity, and teacher-training is nonexistent. Many of those underserved schools are located just a few miles from fully equipped schools with technologically adept teachers in better funded districts. This new film from Rory Kennedy, in which we see the situation through the eyes of students, educators, policy experts, and advocates across the country, clearly lays out the steps we must take a to bring our public education system into the 21st century.Verizon, a producer of the film, has over the last five years, committed more than $160 million to help close the digital divide.<\/b><\/p>\n

FILM COMMENT <\/i>AT NYFF EVENTS<\/u><\/b><\/p>\n

Film Comment<\/i> Presents:
\n<\/b>A Gentle Creature
\n<\/b>Dir. Sergei Loznitsa, France\/Germany\/Lithuania\/The Netherlands, 2017, 143m
\nNorth American Premiere
\n<\/b>This tragicomic pageant by Sergei Loznitsa (My Joy<\/i>, NYFF48) brings a roiling energy and a lunatic sense of desperation to its larger-than-life vision of today\u2019s Russia. Inspired by a Dostoevsky short story, A Gentle Creature <\/i>follows an unnamed woman (Vasilina Makovtseva) moving through a prison town underworld after attempting to visit her incarcerated husband. Loznitsa uses the town as a microcosm for a country where corruption and authority are so intertwined as to be indistinguishable. A Gentle Creature <\/i>brings its own genius to a Russian tradition of social panoramas, and as the film takes a turn into the carnivalesque and the infernal, it gets at the deeply troubled slumber of a beleaguered country.<\/p>\n

Film Comment<\/i> Live:
\n<\/b>The Cinema of Experience
\n<\/b>At this year\u2019s NYFF, filmmakers are rising to the challenge of representing race and immigration at a pivotal time in our nation\u2019s history. Our guests will discuss how cinematic technique is used to reflect such experiences and what is different about the latest generation of storytelling.<\/p>\n

Filmmakers Chat
\n<\/b>For the second year, Film Comment<\/i> gives you the rare chance to see some of today\u2019s most important filmmakers in dialogue with each other. A selection of directors whose films are screening at this edition of NYFF will talk together in a discussion moderated by Film Comment <\/i>editor-in-chief Nicolas Rapold.<\/p>\n

Festival Wrap
\n<\/b>In what is becoming an annual tradition, Film Comment <\/i>contributing critics and editors gather for the festival\u2019s last weekend and talk about the films they\u2019ve seen, discussing\u2014or arguing about\u2014the selections in the lineup, from Main Slate and beyond.<\/p>\n

RETROSPECTIVE – JUST ADDED<\/u><\/b><\/p>\n

Nice Girls Don\u2019t Stay for Breakfast
\n<\/b>Bruce Weber, 2017, USA
\nIn the late 1990s, the great photographer and filmmaker Bruce Weber managed to convince Robert Mitchum to appear before his camera for a filmed portrait. Weber shot Mitchum in 35mm black and white, hanging with friends and cronies in restaurants and hotel rooms and singing before a microphone in a studio recording standards for a projected album. When Mitchum passed away in 1997, Weber parked his beloved project and it was some time before he went back into his footage. Nice Girls Don\u2019t Stay for Breakfast <\/i>(a great title, from a Julie London song), still a work in progress, is a beautifully textured full-throttle portrait of a man who came from\u2014and for many was the very embodiment of\u2014a bygone era, speaking and enacting its prejudices, its longings, and its charms. He was also a great artist with the sensibility of a poet, as you\u2019ll see.<\/p>\n

SHORTS<\/u><\/b><\/p>\n

Shorts Program 1: Narrative
\n<\/u><\/b>Showcasing both established and emerging filmmakers, this program features six unique films from around the world. TRT: 84mProgrammed by Gabi Madsen<\/i><\/p>\n

Hedgehog\u2019s Home
\n<\/b>Eva Cvijanovi<\/b>\u0107, Canada\/Croatia, 2017, 10m
\n<\/b>In this stop-motion tale, a hedgehog’s love of his humble abode perplexes his predators, who deliver their dialogue in rhyming couplets.New York Premiere<\/b><\/p>\n

All Over the Place
\n<\/b>Mariana Sanguinetti<\/b>, Argentina, 2017, 10m
\n<\/b>While moving out of the apartment she shared with her ex-boyfriend, Jimena reflects on closure and the future in a stream-of-consciousness message on his answering machine. North American Premiere<\/b><\/p>\n

A Gentle Night
\n<\/b>Qiu Yang,<\/b> China, 2017, 15m
\n<\/b>When their 13-year-old daughter disappears on her way home from school, a couple’s feelings of helplessness conflict with their desire to act. New York Premiere<\/b><\/p>\n

Douggy
\n<\/b>Matvey Fiks, USA\/Russia, 2017, 19m
\n<\/b>Tow-truck driver Douggy’s mind is on a series of unanswered phone calls as he goes through the motions of his last two night shifts. Fiks renders his routine’s quietude and rusty infrastructure in warm 16mm grain. North American Premiere<\/b><\/p>\n

Scaffold
\n<\/b>Kazik Radwanski,<\/b> Canada, 2017, 15m
\n<\/b>Filmed in fragmentary close-up, Scaffold<\/i> stitches together the conversations, interactions, and people-watching that make up the daily grind for two Bosnian-Canadian construction workers. U.S. Premiere<\/b><\/p>\n

Bonbon\u00e9
\n<\/b>Rakan Mayasi, Palestine\/Lebanon, 2017, 15m
\n<\/b>A Palestinian man serves time in an Israeli jail, but he and his wife still hope to conceive a child. With the help of a bonbon wrapper, the couple overcomes physical obstacles in a race against the clock. U.S. Premiere<\/b><\/p>\n

Shorts Program 2: Genre Stories
\n<\/u><\/b>This is the third annual edition of a program focusing on the best in new horror, thriller, sci-fi, pitch-black comedy, twisted noir, and fantasy shorts from around the world. TRT: 92m Programmed by Laura Kern<\/i><\/p>\n

Creswick
\n<\/b>Natalie James, Australia, 2016, 10m
\n<\/b>As a woman helps her dad pack up his home, it becomes apparent that it may be inhabited by more than just memories. New York Premiere<\/b><\/p>\n

The Last Light
\n<\/b>Angelita Mendoza, USA\/Mexico, 2017, 11m
\n<\/b>Spanish with English subtitles
\n<\/b>The innocence and the developing evils of youth collide when two children\u2019s paths cross in an abandoned house. New York Premiere<\/b><\/p>\n

Birthday
\n<\/b>Alberto Viavattene, Italy, 2017, 15m
\n<\/b>A corrupt young nurse messes with the wrong patient on the day she turns 100. U.S.\u00a0<\/b>Premiere<\/b><\/p>\n

Program
\n<\/b>Gabriel de Urioste, USA, 2017, 8m
\n<\/b>In the Digital Age, finding real love is more challenging\u2014and glitchier\u2014than ever. World Premiere<\/b><\/p>\n

Hombre
\n<\/b>Juan Pablo Arias Mu\u00f1oz, Chile, 2017, 21m
\n<\/b>Spanish with English subtitles
\n<\/b>While on a hunting trip with his father, a teenage boy must contend with multiple monsters. North American Premiere<\/b><\/p>\n

Drip Drop
\n<\/b>Jonna Nilsson, Sweden, 2016, 7m
\n<\/b>Alone one night, a woman is terrorized by water that manifests itself in unusual ways. New York Premiere<\/b><\/p>\n

Hitchhiker
\n<\/b>Damien Power, Australia, 2015, 20m
\n<\/b>Right before brilliantly deconstructing camping films in Killing Ground,<\/i> its director made this noirish homage to road movies. World Premiere<\/b><\/p>\n

Shorts Program 3: New York Stories
\n<\/u><\/b>This program, now in its third year, showcases work from some of the most exciting filmmakers living and working in New York today, including established names and ones to watch. TRT: 79m Programmed by Dan Sullivan<\/i><\/p>\n

Unpresidented
\n<\/b>Jason Giampietro, USA, 2017, 14m
\n<\/b>Giampietro confronts our uncertain political moment head-on with this dark comedy, in which a man attempts to justify his having bet on Trump to win the 2016 presidential election. New York Premiere<\/b><\/p>\n

Cheer Up Baby
\n<\/b>Adinah Dancyger, USA, 2017, 12m
\n<\/b>The experience of a young woman (India Menuez) who has been sexually assaulted by a stranger on the subway is rendered with psychological menace and sensory dislocation in Dancyger\u2019s elliptical tale. World Premiere<\/b><\/p>\n

The Layover
\n<\/b>Ashley Connor & Joe Stankus, USA, 2017, 10m
\n<\/b>This subtle, funny miniature offers a tender glimpse at the shared life of two flight attendants as they observe the one-year anniversary of their beloved dog\u2019s passing. World Premiere<\/b><\/p>\n

My Nephew Emmett
\n<\/b>Kevin Wilson, Jr., USA, 2017, 19m
\n<\/b>This visually ravishing and thought-provoking work portrays one of the USA\u2019s great shames\u2014the 1955 murder of 14-year-old Emmett Till by two white men in Mississippi\u2014and movingly reminds us of this dark episode\u2019s enduring relevance. New York Premiere<\/b><\/p>\n

The Road to Magnasanti
\n<\/b>John Wilson, USA, 2017, 15m
\n<\/b>Wilson welcomes us to the terrordome with his latest, in which he hilariously and chillingly illustrates NYC\u2019s not-so-gradual transformation into a late-capitalist paradise-cum-dystopia. World Premiere<\/b><\/p>\n

Mr. Yellow Sweatshirt
\n<\/b>Pacho Velez & Yoni Brook, USA, 2017, 9m
\n<\/b>A man\u2019s inability to get a subway turnstile to accept his Metrocard encapsulates NYC\u2019s ongoing public transit crisis in Velez and Brook\u2019s elegant and formally audacious documentary. New York Premiere<\/b><\/p>\n

Shorts Program 4: Documentary<\/u><\/b>
\n<\/u><\/b>For its second year, NYFF showcases films from around the world that capture the versatility and depth of short nonfiction. TRT: 90mProgrammed by Tyler Wilson<\/i><\/p>\n

Cucli
\n<\/b>Xavier Marrades, Spain, 2017, 17m
\n<\/b>A widowed truck driver considers the nature of his companionship with a dove in this ethereal, moving work about loss and renewal.New York Premiere<\/b><\/p>\n

The Brick House
\n<\/b>Eliane Esther Bots, Netherlands, 2016, 16m
\n<\/b>With meticulous detail, Bots sensuously captures the placid movements and sounds of two friends inside a Dutch apartment as they share memories\u2014both pleasant and harrowing\u2014of their childhood in Tanzania. North American Premiere<\/b><\/p>\n

The True Tales \/ Les histoires vraies
\n<\/b>Lucien Monot, Switzerland, 2017, 22m
\n<\/b>Shooting on 16mm, Monot constructs a buoyant ode to his father, who wanders in and out of scripted scenarios that deconstruct his personal history while refracting his family\u2019s unspoken loss. U.S. Premiere<\/b><\/p>\n

Two \/ Due
\n<\/b>Riccardo Giacconi, France\/Italy, 2017, 16m
\n<\/b>Giacconi\u2019s schematic, almost surreal essay film maps the development of a utopian residential neighborhood planned by Silvio Berlusconi in the seventies, and offers a representation of the not-yet prime minister\u2019s lasting impact on Italian culture. North American Premiere<\/b><\/p>\n

The Disinherited \/ Los Desheredados
\n<\/b>Laura Ferr\u00e9s, Spain, 2017, 19m
\n<\/b>In this funny and tender portrait that deftly blurs documentary and fiction, Ferr\u00e9s\u2019s father reluctantly endures the demise of his family business while trying to retain his dignity. North American Premiere<\/b><\/p>\n

FILM SOCIETY OF LINCOLN CENTER<\/b>
\n<\/u>The Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema. The only branch of the world-renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film. Via year-round programming and discussions; its annual New York Film Festival; and its publications, including\u00a0Film Comment<\/i>, the U.S.\u2019s premier\u00a0magazine\u00a0about films and film culture,\u00a0the 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 Shutterstock, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center.<\/p>\n

Support for the New York Film Festival is generously provided by Official Partners HBO\u00ae and The New York Times, Benefactor Partners LG Electronics MobileComm U.S.A., Inc., Verizon, FilmStruck, The Village Voice, Dolby, and illy caff\u00e9, Hospitality Partners Loews Regency New York and RowNYC, and Supporting Partners Citi\u00ae, MUBI, Tito\u2019s Handmade Vodka, Alfa Romeo USA, Fiji Water, Manhattan Portage. WABC-7, WNET New York Public Media, Variety, The Hollywood Reporter, Deadline Hollywood, JCDecaux, and The Mayor’s Office of Media and Entertainment serve as Media Sponsors.<\/p>\n

For more information, visit www.filmlinc.org<\/a> and follow @filmlinc on Twitter.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Includes World Premiere docs about Steven Spielberg, Bob Dylan, and the Metropolitan Opera; a series of four new films by Claude Lanzmann; a conversation with Kate Winslet and a master class with cinematographers Vittorio Storaro and Ed Lachman; a new restoration of G.W. Pabst\u2019s Pandora\u2019s Box premiering a new score; the return of Film Comment Presents; and more<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":32,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[],"class_list":["post-7234","post","type-post","status-publish","format-standard","hentry","category-archives"],"_links":{"self":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/7234","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/users\/32"}],"replies":[{"embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/comments?post=7234"}],"version-history":[{"count":9,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/7234\/revisions"}],"predecessor-version":[{"id":7402,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/7234\/revisions\/7402"}],"wp:attachment":[{"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/media?parent=7234"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/categories?post=7234"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/tags?post=7234"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}