{"id":7045,"date":"2017-08-11T09:56:10","date_gmt":"2017-08-11T13:56:10","guid":{"rendered":"http:\/\/hunterword.com\/?p=7045"},"modified":"2017-12-26T11:44:02","modified_gmt":"2017-12-26T16:44:02","slug":"film-society-of-lincoln-center-announces-main-slate-selections-for-55th-new-york-film-festival","status":"publish","type":"post","link":"https:\/\/hunterword.com\/index.php\/film-society-of-lincoln-center-announces-main-slate-selections-for-55th-new-york-film-festival\/","title":{"rendered":"Film Society of Lincoln Center Announces Main Slate Selections for 55th New York Film Festival"},"content":{"rendered":"

Twenty-five features include new films from Sean Baker, Noah Baumbach, Serge Bozon, Robin Campillo, Claire Denis, Arnaud Desplechin, Philippe Garrel, Greta Gerwig, Alain Gomis, Valeska Grisebach, Luca Guadagnino, Agnieszka Holland, Hong Sang-soo, Aki Kaurism\u00e4ki, Kiyoshi Kurosawa, Lucrecia Martel, Ruben \u00d6stlund, Dee Rees, Joachim Trier, Agn\u00e8s Varda & JR, and Chlo\u00e9 Zhao<\/strong><\/p>\n

\u201cEvery year, I\u2019m asked about the themes in our Main Slate line-up, and every year I say the same thing, we choose the best films we see, and the common themes and preoccupations arise only after the fact,” said NYFF Director and Selection Committee Chair Kent Jones. “As I look at this slate of beautiful work, I could just make a series of simple observations,\u00a0 that these films come from all over the globe; that there is a nice balance of filmmakers known and unknown to many here in New York; that the overall balance between frankness and artistry holds me in awe; that there are two gala selections with the word \u2018wonder\u2019 in their titles; and that eight of the 25 films were directed by women.\u201d<\/p>\n

This year\u2019s Main Slate showcases films honored at Cannes including Ruben \u00d6stlund\u2019s Palme d\u2019Or\u2013winner The Square<\/i>; Robin Campillo\u2019s BPM<\/i>, awarded the Cannes Critics\u2019 Prize; and Agn\u00e8s Varda & JR\u2019s Faces Places<\/i>, which took home the Golden Eye. From Berlin, Aki Kaurism\u00e4ki\u2019s Silver Bear\u2013winner The Other Side of Hope<\/i> and Agnieszka Holland\u2019s Alfred Bauer Prize\u2013winner Spoor<\/i> mark the returns of two New York Film Festival veterans, while Luca Guadagnino\u2019s acclaimed Call Me by Your Name<\/i> will be his NYFF debut. Also returning are Arnaud Desplechin, Noah Baumbach, Kiyoshi Kurosawa, Claire Denis, Philippe Garrel, Lucrecia Martel, and Hong Sang-soo, who has two features in the lineup this year, while filmmakers new to the festival include Sean Baker, Greta Gerwig, Serge Bozon, Dee Rees, Chlo\u00e9 Zhao, Joachim Trier, Alain Gomis, and Valeska Grisebach.<\/p>\n

As previously announced, the NYFF55 Opening Night is Richard Linklater\u2019s Last Flag Flying<\/i>, Todd Haynes\u2019s Wonderstruck<\/i> is Centerpiece, and Woody Allen\u2019s Wonder Wheel <\/i>will close the festival.<\/p>\n

 <\/p>\n

The Main Slate<\/u><\/b><\/h2>\n

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

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NYFF Special Events, Spotlight on Documentary, Revivals, Convergence, and Projections sections, as well as filmmaker conversations and panels, will be announced in the coming weeks.<\/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 Jones, also includes Dennis Lim, FSLC Director of Programming; Florence Almozini, FSLC Associate Director of Programming; and Amy Taubin, Contributing Editor, Film Comment<\/i> and Sight & Sound<\/i>.<\/p>\n

Tickets for the 55th New York Film Festival will go on sale\u00a0September 10. VIP passes and packages are on sale now and offer one of the earliest opportunities to purchase tickets and secure seats at some of the festival\u2019s biggest events. Learn more at\u00a0filmlinc.org\/packages.<\/a><\/p>\n


\n<\/u><\/b>Films & Descriptions<\/b><\/h2>\n

Opening Night<\/b><\/span><\/em>
\nLast Flag Flying
\n<\/b>Dir. Richard Linklater, USA, 2017, 119m
\n<\/b>World Premiere
\n<\/b>In Richard Linklater\u2019s lyrical road movie, as funny as it is heartbreaking, three aging Vietnam-era Navy vets\u2014soft-spoken Doc (Steve Carell), unhinged and unfiltered Sal (Bryan Cranston), and quietly measured Mueller (Laurence Fishburne)\u2014reunite to perform a sacred task: the proper burial of Doc\u2019s only child, who has been killed in the early days of the Iraq invasion. As this trio of old friends makes its way up the Eastern seaboard, Linklater gives us a rich rendering of friendship, a grand mosaic of common life in the USA during the Bush era, and a striking meditation on the passage of time and the nature of truth. To put it simply, Last Flag Flying <\/i>is a great movie from one of America\u2019s finest filmmakers. An Amazon Studios release.<\/p>\n

Centerpiece<\/b><\/span><\/em>
\nWonderstruck
\n<\/b>Dir. Todd Haynes, USA, 2017, 117m
\n<\/b>In 1977, following the death of his single mother, Ben (Oakes Fegley) loses his hearing in a freak accident and makes his way from Minnesota to New York, hoping to learn about the father he has never met. A half-century earlier, another deaf 12-year-old, Rose (Millicent Simmonds), flees her restrictive Hoboken home, captivated by the bustle and romance of the nearby big city. Each of these parallel adventures, unfolding largely without dialogue, is an exuberant love letter to a different bygone era of New York. The mystery of how they ultimately converge, which involves Julianne Moore in a lovely dual role, provides the film\u2019s emotional core. Adapted from a young-adult novel by Hugo<\/i> author Brian Selznick, Wonderstruck <\/i>is an all-ages enchantment, entirely true to director Todd Haynes\u2019s sensibility: an intelligent, deeply personal, and lovingly intricate tribute to the power of obsession. An Amazon Studios release.<\/p>\n

Closing Night<\/b><\/span><\/em>
\nWonder Wheel
\n<\/b>Dir. Woody Allen, USA, 2017
\n<\/b>World Premiere
\n<\/b>In a career spanning 50 years and almost as many features, Woody Allen has periodically refined, reinvented, and redefined the terms of his art, and that\u2019s exactly what he does with his daring new film. We\u2019re in Coney Island in the 1950s. A lifeguard (Justin Timberlake) tells us a story that just might be filtered through his vivid imagination: a middle-aged carousel operator (Jim Belushi) and his beleaguered wife (Kate Winslet), who eke out a living on the boardwalk, are visited by his estranged daughter (Juno Temple)\u2014a situation from which layer upon layer of all-too-human complications develop. Allen and his cinematographer, the great Vittorio Storaro, working with a remarkable cast led by Winslet in a startlingly brave, powerhouse performance, have created a bracing and truly surprising movie experience. An Amazon Studios release.<\/p>\n

 <\/p>\n

\n

 <\/p>\n

Before We Vanish<\/b>
\nDir. Kiyoshi Kurosawa, Japan, 2017, 129m
\n<\/b>The latest from master of art-horror Kiyoshi Kurosawa is perhaps his most mainstream film yet, a throwback to 1980s sci-fi. An advance crew of three aliens journey to Earth in preparation for a complete takeover of the planet. They snatch not only bodies but memories, beliefs, values\u2014everything that defines their conquests as human\u2014leaving only hollow shells, which are all but unrecognizable to their loved ones. This disturbing parable for our present moment, replete with stunning images\u2014including a drone attack and a bit of Clockwork Orange<\/i>\u2013style murder and mayhem\u2014is also a profoundly mystical affirmation of love as the only form of resistance and salvation. A Neon release.<\/p>\n

BPM (Beats Per Minute)\/120 battements par minute<\/b>
\nDir. Robin Campillo, France, 2017, 144m
\n<\/b>U.S. Premiere
\n<\/b>In the early 1990s, ACT UP\u2014in France, as in the U.S.\u2014was on the front lines of AIDS activism. Its members, mostly gay, HIV-positive men, stormed drug company and government offices in \u201cSilence=Death\u201d T-shirts, facing down complacent suits with the urgency of their struggle for life. Robin Campillo (Eastern Boys<\/i>) depicts their comradeship and tenacity in waking up the world to the disease that was killing them and movingly dramatizes the persistence of passionate love affairs even in dire circumstances. All the actors, many of them unknown, are splendid in this film, which not only celebrates the courage of ACT UP but also tacitly provides a model of resistance to the forces of destruction running rampant today. A release of The Orchard.<\/p>\n

Bright Sunshine In\/Un beau soleil int\u00e9rieur<\/b>
\nDir. Claire Denis, France, 2017, 95m
\n<\/b>North American Premiere
\n<\/b>Juliette Binoche is both incandescent and emotionally raw in Claire Denis\u2019s extraordinary new film as Isabelle, a middle-aged Parisian artist in search of definitive love. The film moves elliptically, as though set to some mysterious bio-rhythm, from one romantic\/emotional attachment to another: from the boorish married lover (Xavier Beauvois); to the subtly histrionic actor (Nicolas Duvauchelle), also married; to the dreamboat hairdresser (Paul Blain); to the gentle man (Alex Descas) not quite ready for commitment to . . . a mysterious fortune-teller. Appropriately enough, Bright Sunshine In <\/i>(very loosely inspired by Roland Barthes\u2019s A Lover\u2019s Discourse<\/i>) feels like it\u2019s been lit from within; it was lit from without by Denis\u2019s longtime cinematographer Agn\u00e8s Godard. It is also very funny. A Sundance Selects release.<\/p>\n

Call Me by Your Name<\/b>
\nDir. Luca Guadagnino, Italy\/France, 2017, 132m
\n<\/b>A story of summer love unlike any other, the sensual new film from the director of I Am Love, <\/i>set in 1983, charts the slowly ripening romance between Elio (Timoth\u00e9e Chalamet), an American teen on the verge of discovering himself, and Oliver (Armie Hammer), the handsome older grad student whom his professor father (Michael Stuhlbarg) has invited to their vacation home in Northern Italy. Adapted from the wistful novel by Andr\u00e9 Aciman, Call Me by Your Name<\/i> is Guadagnino\u2019s most exquisitely rendered, visually restrained film, capturing with eloquence the confusion and longing of youth, anchored by a remarkable, star-making performance by Chalamet, always a nervy bundle of swagger and insecurity, contrasting with Hammer\u2019s stoicism. A Sony Pictures Classics release.<\/p>\n

The Day After<\/b>
\nDir. Hong Sang-soo, South Korea, 2017, 92m
\n<\/b>U.S. Premiere
\n<\/b>Hong continues in the openly emotional register of his On the Beach at Night Alone<\/i>, also showing in this year\u2019s Main Slate. Shot in moody black and white, The Day After <\/i>opens with book publisher Bongwan (Kwon Hae-hyo) fending off his wife\u2019s heated accusations of infidelity. At the office, it\u2019s the first day for his new assistant, Areum (Kim Min-hee), whose predecessor was Bongwan\u2019s lover. Mistaken identity, repetition compulsion, and d\u00e9j\u00e0 vu figure into the narrative as the film entangles its characters across multiple timelines through an intricate geometry of desire, suspicion, and betrayal. The end result is one of Hong\u2019s most plaintive and philosophical works.<\/p>\n

Faces Places\/Visages villages<\/b>
\nDir. Agn\u00e8s Varda & JR, France, 2016, 89m
\n<\/b>The 88-year-old Agn\u00e8s Varda teamed up with the 33-year-old visual artist JR for this tour of rural France that follows in the footsteps of Varda\u2019s groundbreaking documentary The Gleaners and I <\/i>(NYFF 2000) in its celebration of artisanal production, workers\u2019 solidarity, and the photographic arts in the face of mortality. Varda and JR wielded cameras themselves, but they were also documented in their travels by multiple image and sound recordists. Out of this often spontaneous jumble, Varda and her editor Maxime Pozzi-Garcia created an unassuming masterpiece (the winner of this year\u2019s L\u2019Oeil d\u2019or at Cannes) that is vivid, lyrical, and inspiringly humanistic. A Cohen Media Group release.<\/p>\n

F\u00e9licit\u00e9<\/b>
\nDir. Alain Gomis, France\/Senegal\/Belgium\/Germany\/Lebanon, 2017, 124m
\n<\/b>U.S. Premiere
\n<\/b>The new film from Alain Gomis, a French director of Guinea-Bissauan and Senegalese descent, is largely set in the roughest areas of the rough city of Kinshasa in the Democratic Republic of the Congo. Here, a woman named F\u00e9licit\u00e9 (V\u00e9ro Tshanda Beya Mputu) scrapes together a living as a singer in a makeshift bar (her accompanists are played by members of the Kasai Allstars band). When her son is seriously injured in an accident, she goes in search of money for his medical care and embarks on a double journey: through the punishing outer world of the city and the inner world of the soul. F\u00e9licit\u00e9<\/i> is tough, tender, lyrical, mysterious, funny, and terrifying, both responsive to the moment and fixed on its heroine\u2019s spiritual progress. A Strand Releasing release.<\/p>\n

The Florida Project<\/b>
\nDir. Sean Baker, USA, 2017, 105m
\n<\/b>U.S. Premiere
\n<\/b>A six-year-old girl (the remarkable Brooklynn Prince) and her two best friends run wild on the grounds of a week-by-week motel complex on the edge of Orlando\u2019s Disney World. Meanwhile, her mother (talented novice Bria Vinaite) desperately tries to cajole the motel manager (an ever-surprising Willem Dafoe) to turn a blind eye to the way she pays the rent. A film about but not for kids, Baker\u2019s depiction of childhood on the margins has fierce energy, tenderness, and great beauty. After the ingenuity of his iPhone-shot 2015 breakout Tangerine<\/i>, Baker reasserts his commitment to 35mm film with sun-blasted images that evoke a young girl\u2019s vision of adventure and endurance beyond heartbreak. An A24 release.<\/p>\n

Ismael\u2019s Ghosts\/Les fant\u00f4mes d\u2019Isma\u00ebl<\/b>
\nDir. Arnaud Desplechin, France, 2017, 132m
\n<\/b>North American Premiere
\n<\/b>Phantoms swirl around Ismael (Mathieu Amalric), a filmmaker in the throes of writing a spy thriller based on the unlikely escapades of his brother, Ivan Dedalus (Louis Garrel). His only true source of stability, his relationship with Sylvia (Charlotte Gainsbourg), is upended, as is the life of his Jewish documentarian mentor and father-in-law (L\u00e1szl\u00f3 Szab\u00f3), when Ismael\u2019s wife Carlotta (Marion Cotillard), who disappeared twenty years earlier, returns, and, like one of Hitchcock\u2019s fragile, delusional femmes fatales, expects that her husband and father are still in thrall to her. A brilliant shape-shifter\u2014part farce, part melodrama\u2014Ismael\u2019s Ghosts<\/i> is finally about the process of creating a work of art and all the madness required. A Magnolia Pictures release.<\/p>\n

Lady Bird
\nDir. Greta Gerwig, USA, 2017, 93m<\/b>
\nGreta Gerwig\u2019s directorial debut is a portrait of an artistically inclined young woman (Saoirse Ronan) trying to define herself in the shadow of her mother (Laurie Metcalf) and searching for an escape route from her hometown of Sacramento. Moods are layered upon moods at the furious pace of late adolescence in this lovely and loving film, which shifts deftly from one emotional and comic register to the next.Lady Bird<\/i> is rich in invention and incident, and it is powered by Ronan, one of the finest actors in movies. With Lucas Hedges and Timoth\u00e9e Chalamet as the men in Lady Bird\u2019s life, Beanie Feldstein as her best friend, and Tracy Letts as her dad. An A24 release.<\/p>\n

Lover for a Day\/L\u2019Amant d\u2019un jour<\/b>
\nDir. Philippe Garrel, France, 2017, 76m
\n<\/b>North American Premiere
\n<\/b>Lover for a Day<\/i> is an exquisite meditation on love and fidelity that recalls Garrel’s previous NYFF selections Jealousy<\/i> (NYFF 2013) and In the Shadow of Women<\/i> (NYFF 2015). After a painful breakup, heartbroken Jeanne (Esther Garrel) moves back in with her university professor father, Gilles (Eric Caravaca), to discover that he is living with optimistic, life-loving student Ariane (newcomer Louise Chevillotte), who is the same age as Jeanne. An unusual triangular relationship emerges as both girls seek the favor of Gilles, as daughter or lover, while developing their own friendship, finding common ground despite their differences. Gorgeously shot in grainy black and white by Renato Berta (Au revoir les enfants<\/i>), Lover for a Day<\/i> perfectly illustrates Garrel’s poetic exploration of relationships and desire. A MUBI release.<\/p>\n

The Meyerowitz Stories (New and Selected)<\/b>
\nDir. Noah Baumbach, USA, 2017, 110m
\n<\/b>North American Premiere
\n<\/b>Noah Baumbach revisits the terrain of family vanities and warring attachments that he began exploring with The Squid and the Whale<\/i> in this intricately plotted story of three middle-aged siblings (Adam Sandler, Ben Stiller, and Elizabeth Marvel) coping with their strong-willed father (Dustin Hoffman) and the flightiness of his wife (Emma Thompson). Baumbach\u2019s film never stops deftly changing gears, from surges of pathos to painful comedy and back again. Needless to say, this lyrical quicksilver comedy is very much a New York experience. A Netflix release.<\/p>\n

Mrs. Hyde\/Madame Hyde<\/b>
\nDir. Serge Bozon, France, 2017, 95m
\n<\/b>North American Premiere
\n<\/b>Serge Bozon\u2019s eccentric comedic thriller is loosely based on Robert Louis Stevenson\u2019s The Strange Case of Dr. Jekyll and Mr. Hyde<\/i>, with many a twist. Mrs. G\u00e9quil (Isabelle Huppert), a timid and rather peculiar physics professor, teaches in a suburban technical high school. Apart from her quiet married life with her gentle stay-at-home husband, she is mocked and despised on a daily basis by pretty much everyone around her\u2014headmaster, colleagues, students. During a dark, stormy night, she is struck by lightning and wakes up a decidedly different person, a newly powerful Mrs. Hyde with mysterious energy and uncontrollable powers. Highlighted by Bozon’s brilliant mise en sc\u00e8ne, Isabelle Huppert hypnotizes us again, securing her place as the ultimate queen of the screen.<\/p>\n

Mudbound<\/b>
\nDir. Dee Rees, USA, 2017, 134m
\n<\/b>Writer\/director Dee Rees\u2019s historical epic details daily life and social dynamics in the failing economy of Mississippi during the World War II era. Two families, one white (the landlords) and one black (the sharecroppers), work the same miserable piece of farmland. Out of need and empathy, the mothers of the two families bond as their younger male relatives go off to war and learn that there is a world beyond racial hatred and fear. The flawless ensemble cast includes Carey Mulligan, Mary J. Blige, Garrett Hedlund, Jason Mitchell, Jason Clarke, Rob Morgan, and Jonathan Banks. A Netflix release.<\/p>\n

On the Beach at Night Alone<\/b>
\nDir. Hong Sang-soo, South Korea, 2017, 101m
\n<\/b>Hong Sang-soo\u2019s movies have always invited autobiographical readings, and his 19th feature is perhaps his most achingly personal film yet, a steel-nerved, clear-eyed response to the tabloid frenzy that erupted in South Korea over his relationship with actress Kim Min-hee. The film begins in Hamburg, where actress Young-hee (played by Kim herself, who won the Best Actress prize at Berlin for this role) is hiding out after the revelation of her affair with a married filmmaker. Back in Korea, a series of encounters shed light on Young-hee\u2019s volatile state, as she slips in and out of melancholic reflection and dreams. Centered on Kim\u2019s astonishingly layered performance, On the Beach at Night Alone<\/i> is the work of a master mining new emotional depths. A Cinema Guild release.<\/p>\n

The Other Side of Hope\/Toivon tuolla puolen<\/b>
\nDir. Aki Kaurism\u00e4ki, Finland, 2017, 98m
\n<\/b>Leave it to Aki Kaurism\u00e4ki (Le Havre,<\/i> NYFF 2011), peerless master of humanist tragicomedy, to make the first great fiction film about the 21st century migrant crisis. Having escaped bombed-out Aleppo, Syrian refugee Khlaed (Sherwan Haji) seeks asylum in Finland, only to get lost in a maze of functionaries and bureaucracies. Meanwhile, shirt salesman Wikstr\u00f6m (Sakari Kuosmanen) leaves his wife, wins big in a poker game, and takes over a restaurant whose deadpan staff he also inherits. These parallel stories dovetail to gently comic and enormously moving effect in Kaurism\u00e4ki\u2019s politically urgent fable, an object lesson on the value of compassion and hope that remains grounded in a tangible social reality. A Janus Films release.<\/p>\n

The Rider<\/b>
\nDir. Chlo\u00e9 Zhao, USA, 2017, 104m<\/b>
\nThe hardscrabble economy of America\u2019s rodeo country, where, for some, riding and winning is the only source of pleasure and income, is depicted with exceptional compassion and truth by a filmmaker who is in no way an insider: Zhao was born in Beijing and educated at Mount Holyoke and NYU. Set on the Pine Ridge Reservation in South Dakota, The Rider <\/i>is a fiction film that calls on nonprofessional actors to play characters similar to themselves, incorporating their skill sets and experiences. Brady Jandreau is extraordinary as a badly injured former champion rider and horse trainer forced to give up the life he knows and loves. A Sony Pictures Classics release.<\/p>\n

Spoor\/Pokot<\/b>
\nDir. Agnieszka Holland, in cooperation with Kasia Adamik, Poland\/Germany\/Czech Republic, 2017, 128m
\n<\/b>U.S. Premiere
\n<\/b>Janina Duszejko (Agnieszka Mandat) is a vigorous former engineer, part-time teacher, and animal activist, living in a near wilderness on the Polish-Czech border, where hunting is the favored year-round sport of the corrupt men who rule the region. When a series of hunters die mysteriously, Janina wonders if the animals are taking revenge, which doesn\u2019t stop the police from coming after her. A brilliant, passionate director, Agnieszka Holland\u2014who like Janina comes from a generation that learned to fight authoritarianism by any means necessary\u2014forges a sprawling, wildly beautiful, emotionally enveloping film that earns its vision of utopia. It\u2019s at once a phantasmagorical murder mystery, a tender, late-blooming love story, and a resistance and rescue thriller.<\/p>\n

The Square<\/b>
\nDir. Ruben \u00d6stlund, Sweden, 2017, 150m
\n<\/b>A precisely observed, thoroughly modern comedy of manners, Ruben \u00d6stlund\u2019s Palme d\u2019Or\u2013winner revolves around Christian (Claes Bang), a well-heeled contemporary art curator at a Stockholm museum. While preparing his new exhibit\u2014a four-by-four-meter zone designated as a \u201csanctuary of trust and caring\u201d\u2014Christian falls prey to a pickpocketing scam, which triggers an overzealous response and then a crisis of conscience. Featuring several instant-classic scenes and a vivid supporting cast (Elisabeth Moss, Dominic West, and noted motion-capture actor Terry Notary), The Square<\/i> is the most ambitious film yet by one of contemporary cinema\u2019s most incisive social satirists, the rare movie to have as many laughs as ideas. A Magnolia Pictures release.<\/p>\n

Thelma<\/b>
\nDir. Joachim Trier, Norway\/Sweden\/France, 2017, 116m
\n<\/b>In the new film from Joachim Trier (Reprise<\/i>), an adolescent country girl (Eili Harboe) has just moved to the city to begin her university studies, with the internalized religious severity of her quietly domineering mother and father (Ellen Dorrit Petersen and Henrik Rafaelsen) always in mind. When she realizes that she is developing an attraction to her new friend Anja (Okay Kaya), she begins to manifest a terrifying and uncontrollable power that her parents have long feared. To reveal more would be a crime; let\u2019s just say that this fluid, sharply observant, and continually surprising film begins in the key of horror and ends somewhere completely different. A release of The Orchard.<\/p>\n

Western<\/b>
\nDir. Valeska Grisebach, Germany and Bulgaria, 2017, 119m
\n<\/b>U.S. Premiere
\n<\/b>As its title suggests, German director Valeska Grisebach\u2019s first feature in a decade is a supremely intelligent genre update that recognizes the Western as a template on which to draw out eternal human conflicts. In remote rural Bulgaria, a group of German workers are building a water facility. Meinhard (Meinhard Neumann), the reserved newbie in this all-male company, immediately draws the ire of the boorish team leader, not least for his willingness to mingle with the wary locals. Cast with utterly convincing nonprofessional actors, Western<\/i> is a gripping culture-clash drama, attuned both to old codes of masculinity and new forms of colonialism. A Cinema Guild release.<\/p>\n

Zama<\/b>
\nDir. Lucrecia Martel, Argentina\/Brazil\/Spain, 2017, 115m
\n<\/b>U.S. Premiere
\n<\/b>The great Lucrecia Martel ventures into the realm of historical fiction and makes the genre entirely her own in this adaptation of Antonio di Benedetto\u2019s 1956 classic of Argentinean literature. In the late 18th century, in a far-flung corner of what seems to be Paraguay, the title character, an officer of the Spanish crown (Daniel Gim\u00e9nez Cacho) born in the Americas, waits in vain for a transfer to a more prestigious location. Martel renders Zama\u2019s world\u2014his daily regimen of small humiliations and petty politicking\u2014as both absurd and mysterious, and as he increasingly succumbs to lust and paranoia, subject to a creeping disorientation. Precise yet dreamlike, and thick with atmosphere,Zama<\/i> is a singular and intoxicating experience, a welcome return from one of contemporary cinema\u2019s truly brilliant minds.<\/p>\n

 <\/p>\n

\n

Film Society of Lincoln Center<\/u><\/b>
\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\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 Partner HBO\u00ae and The New York Times, Benefactor Partners Verizon, FilmStruck, The Village Voice<\/i>, Dolby, and illy caff\u00e9, Hospitality Partners Loews Regency New York and RowNYC, and Supporting Partners MUBI, Fiji Water, Manhattan Portage. WABC-7, WNET New York Public Media, Variety, The Hollywood Reporter, Deadline Hollywood, JCDecaux, and The Mayor’s Office of Media and Entertainment serve as Media Sponsors.<\/p>\n

 <\/p>\n

Gregg Morris can be reached at gmorris@hunter.cuny.edu<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Twenty-five features include new films from Sean Baker, Noah Baumbach, Serge Bozon, Robin Campillo, Claire Denis, Arnaud Desplechin, Philippe Garrel, Greta Gerwig, Alain Gomis, Valeska Grisebach, Luca Guadagnino, Agnieszka Holland, Hong Sang-soo, Aki Kaurism\u00e4ki, Kiyoshi Kurosawa, Lucrecia Martel, Ruben \u00d6stlund, Dee Rees, Joachim Trier, Agn\u00e8s Varda & JR, and Chlo\u00e9 Zhao<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":29,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[494,98,444,101,496,97,495],"class_list":["post-7045","post","type-post","status-publish","format-standard","hentry","category-archives","tag-55th-ny-film-festival","tag-cinema","tag-documentaries","tag-film","tag-film-at-lincoln-center","tag-movies","tag-ny-film-festivals"],"_links":{"self":[{"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/7045","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/users\/29"}],"replies":[{"embeddable":true,"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/comments?post=7045"}],"version-history":[{"count":24,"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/7045\/revisions"}],"predecessor-version":[{"id":8284,"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/posts\/7045\/revisions\/8284"}],"wp:attachment":[{"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/media?parent=7045"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/categories?post=7045"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hunterword.com\/index.php\/wp-json\/wp\/v2\/tags?post=7045"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}