This week we’re excited to present a conversation from the 62nd New York Film Festival with Northern Lights directors John Hanson & Rob Nilsson and cast members Susan Lynch & Joe Spano. This conversation was moderated by NYFF62 Revivals programmer Dan Sullivan.

An NYFF62 Revivals selection, Northern Lights is currently playing at Film at Lincoln Center, courtesy of Kino Lorber. Get tickets at filmlinc.org/lights

Winner of the Camera d’Or at the 1979 Cannes Film Festival, the sui generis Northern Lights marks one of the most moving and committed works of political cinema from the late 1970s. Dramatizing the formation of the populist Nonpartisan League in North Dakota in the mid-1910s, Northern Lights captures the plight of immigrant Dakotan farmers as they toil and struggle against the combined forces of industry and finance. Amid this class tension, two young lovers find themselves swept up in the tide. Shot on location (on grain-rich black-and-white 16mm) in the dead of winter and featuring an astonishing cast of non-professional actors, this handmade masterpiece remains a stirring monument to collectivity.

This week we’re excited to present a conversation from the 2025 edition of the New York African Film Festival with Black Tea director Abderrahmane Sissako and producer Kessen Tall.

This conversation was moderated by Film Comment editor Devika Girish.

After saying no on her wedding day, Aya leaves the Ivory Coast for a new life in the buzzing “Chocolate City” of Guangzhou, China. In this district where the African diaspora meets Chinese culture, she gets hired in a tea boutique owned by Cai, a Chinese man. In the secrecy of the back shop, Cai decides to initiate Aya to the tea ceremony. Through the teaching of this ancient art, their relationship slowly turns into tender love. But for their burgeoning passion to lead to mutual trust, they must let go of their burdens and face their past.

Having made its New York Premiere at Film at Lincoln Center earlier this month, Black Tea is currently playing in select theaters, courtesy of Cohen Media Group.

This week we’re excited to present a special episode featuring the star-studded speeches from our recent Chaplin Award Gala.

FLC was pleased to honor Pedro Almodóvar as the recipient of the 50th Chaplin Award, presented in partnership with ROLEX, at a Gala evening on April 28. The full house at Alice Tully Hall was treated to a joyful celebration of the celebrated filmmaker's incredible body of work with hilarious and heartfelt tributes by Almodóvar's cast members, friends, admirers, and more, culminating in Dua Lipa presenting the Chaplin Award to Almodóvar himself.

The evening’s guest speakers included, in order of appearance, Secretary of our Board of Directors Wendy Keys, Former Film at Lincoln Center Programming Director & head of the New York Film Festival Richard Peña, acclaimed filmmaker, writer, & artist John Waters, actress and longtime Almodóvar muse Rossy de Palma, renowned performer & artistic director Mikhail Baryshnikov, Emmy Award–winning actor, director, & writer John Turturro, and global pop powerhouse Dua Lipa.

This week we’re excited to present a special programmer’s preview of our upcoming retrospective, Kira Muratova: Scenographies of Chaos, taking place in our theaters May 16-25.

The episode features a conversation between FLC programmer Madeline Whittle, Marta Kuzma (Professor of Art at Yale University), and film scholar and writer Ivan Kozlenk.

Get tickets at filmlinc.org/muratova

Kira Muratova: Scenographies of Chaos offers a rare opportunity to explore the complete body of work of a filmmaker who remained largely unknown to American audiences during her lifetime and has only recently come into widespread international acclaim. Muratova is now widely considered the greatest Ukrainian filmmaker of the last half century—and arguably one of the most influential women directors in cinema history. Deeply fascinated by eccentric characters and linguistic deviations, Muratova honed a distinctive style characterized by surreal and unexpected repetitions, refracting the experience of an unstable reality by way of outré storytelling devices. Caustic and misanthropic in life, Muratova nevertheless was touchingly humanistic in her films, radiating childish wonder, defiant hope, and sparkling irony.

This week we’re excited to present a conversation from this year’s edition of New Directors/New Films with Blue Sun Palace director Constance Tsang and cast members Ke-Xi Wu and Murielle Hsieh. This conversation was moderated by New Directors/New Films co-chair Dan Sullivan.

Blue Sun Palace is now in select theaters, courtesy of Dekanalog.

For more than 30 years the Taiwanese actor Lee Kang-sheng has forged an indelible, inimitable creative partnership with Tsai Ming-liang. Lee makes as big an impression in Constance Tsang’s Blue Sun Palace, which relocates him to working-class Queens. When wayward Taiwanese immigrant Cheung (Lee) finds his life of part-time work and light extramarital affairs shattered by violence, he connects with workers at a small Queens salon, victims themselves to the indignities forced upon strangers in a strange land. But Blue Sun Palace is no misery showcase. Intimacy and warmth co-exist with economic anxieties and deep grief that are articulated with uncommon intelligence and understanding of how adults endure any given day. In this debut feature, awarded the French Touch Prize by the jury at the 2024 Cannes Critics’ Week, Tsang shapes an immigrant’s tale, a relationship drama, a workplace comedy, and a great New York story in one.

This week we’re excited to present a conversation with The Shrouds writer & director David Cronenberg and lead actress Diane Kruger, moderated by FLC programmer Tyler Wilson. An NYFF62 Main Slate selection, The Shrouds is now playing at Film at Lincoln Center. Get tickets: https://www.filmlinc.org/films/the-shrouds/

In an eerie, deceptively placid near-future, a techno-entrepreneur named Karsh (Vincent Cassel) has developed a new software that will allow the bereaved to bear witness to the gradual decay of loved ones dead and buried in the earth. While Karsh is still reeling from the loss of his wife (Diane Kruger) from cancer—and falling into a peculiar sexual relationship with his wife’s sister (also Kruger)—a spate of vandalized graves utilizing his “shroud” technology begins to put his enterprise at risk, leading him to uncover a potentially vast conspiracy. Written following the death of the director’s wife, the new film from David Cronenberg is both a profoundly personal reckoning with grief and a descent into noir-tinged dystopia, set in an ominous world of self-driving cars, data theft, and A.I. personal assistants. Offering Cronenberg’s customary balance of malevolence and wit, The Shrouds is a sly and thought-provoking consideration of the corporeal and the digital, the mortal and the infinite. A Sideshow/Janus Films release.

This week we’re excited to present a conversation with Invention director Courtney Stephens and lead actress Calle Hernandez (moderated by FLC's Tyler Wilson) from this year’s edition of New Directors/New Films. Presented by The Museum of Modern Art and Film at Lincoln Center, the 54th edition of New Directors/New Films (ND/NF) takes place through April 13, and has, since 1972, showcased new and emerging filmmakers whose distinctive visions and risk-taking works highlight the vitality and potential of cinema.

Personal anguish and noirish mystery are inextricably bound in Invention, wherein Callie Hernandez (who co-conceptualized the film, and plays a cross between herself and some other vision) seeks the truth about her father—an inventor of devices boasting untapped power—whose death is not what it seems. Traversing a backwoods America of oddballs, cretins, estate vultures, and even the occasional sweetheart, Hernandez’s journey is a constant reminder of how much our loved ones hide from us in life and death alike. Courtney Stephens’s years in experimental documentary cinema help turn this Super 16mm–shot investigation narrative on its head, while a commanding performance confirms Hernandez as a captivating screen performer and artist.

This week we’re excited to present a conversation from this year’s edition of New Directors/New Films with Familiar Touch director Sarah Friedland and cast members Kathleen Chalfant, Carolyn Michelle, and H. Jon Benjamin. This conversation was moderated by New Directors/New Films co-chair Dan Sullivan.

Presented by The Museum of Modern Art and Film at Lincoln Center, the 54th edition of New Directors/New Films (ND/NF) takes place through April 13, and has, since 1972, showcased new and emerging filmmakers whose distinctive visions and risk-taking works highlight the vitality and potential of cinema.

The Opening Night selection of this year’s festival, Familiar Touch is about an octogenarian named Ruth (played by Kathleen Chalfant) who has been living independently, but cracks have started to emerge: toast is placed to dry in the dish rack, confusion rests on her face, the dead are spoken of in present tense while the living (such as a son right before her) go entirely unrecognized. Her entrance into an assisted-living facility begins the strange, transcendent journey that is Familiar Touch, Sarah Friedland’s feature debut, which earned three awards at the 2024 Venice Film Festival, including the Lion of the Future, Best Director, and Best Actress for Chalfant’s astonishing turn. Friedland builds her drama through sharp honesty, and tough as its material may be, few films are so tonally flexible, so able to turn on a dime: stray moments of tenderness, humility, even absurdity poke through, with a love and care for Ruth shown by characters and creators alike. Familiar Touch portends the arrival of major directorial talent and we were honored to have it as the opening night selection of the 54th edition of New Directors/New Films. Familiar Touch will open in select theaters beginning June 20th, courtesy of Music Box Films.

This week we’re excited to present a conversation from the 62nd New York Film Festival with Grand Tour director Miguel Gomes. An NYFF62 Main Slate selection, Grand Tour is currently playing at Film at Lincoln Center, courtesy of Mubi. Get tickets at filmlinc.org/tour.

In this fanciful and high-spirited cinematic expedition, the uncommonly ambitious Portuguese filmmaker Miguel Gomes (Tabu, NYFF50; Arabian Nights, NYFF53) takes a journey across East Asia, skipping through time and countries with delirious abandon to tell the tale of an unsettled couple from colonial England and the world as it both expands and closes in around them. It’s 1918, and Edward (Gonçalo Waddington) has escaped the clutches of beckoning marriage, leaving his bemused fiancée, Molly (Crista Alfaiate), in indefatigable pursuit. Edward gives chase from Mandalay to Bangkok to Shanghai and beyond, while Gomes responds with a splendid and enthralling series of scenes that use a magic form of cinema to situate us in these places both then and now, keeping us at a knowingly exotic traveler’s distance while also immersing us in rhythm, texture, and emotional reality. Whether black-and-white or color, zigzagging or meditative in tone, scripted or captured as documentary, Grand Tour is splendid, moving, and human-scaled. Winner of the Best Director prize at the 2024 Cannes Film Festival. A MUBI release.

This conversation was moderated by NYFF Artistic Director Dennis Lim.

This week we’re excited to present a conversation from the 20205 edition of the just-concluded Rendez-vous with French Cinema with Being Maria cast members Matt Dillon and Anamaria Vartolomei.

Being Maria is now in select theaters, courtesy of Kino Lorber.

Actors don’t choose roles,” actor Daniel Gélin (Yvan Attal) tells his daughter Maria Schneider (Anamaria Vartolomei). “Roles choose them!” After her galvanizing performance as a young woman seeking out an illegal abortion in Audrey Diwan’s Happening (ND/NF 2022), Vartolomei delivers another indelible portrait of a woman in extremis with writer-director Jessica Palud’s second feature, moving beyond Schneider’s encounter with director Bernardo Bertolucci on the set of Last Tango in Paris, during the shoot of the infamous “get the butter” scene (which the actress repeatedly identified as a violation of her consent), to contemplate the actress’s larger life and legacy. The shoot itself is meticulously reconstructed—featuring a remarkable turn by Matt Dillon as Schneider’s significantly more famous costar and scene partner, Marlon Brando—in order to contextualize the private and public fallout from Schneider’s equally iconic and traumatizing breakout performance. Palud was herself an assistant director for Bertolucci at age 19 (the same age Schneider was during the production of Last Tango) and brings a welcome eye for complexity to an unsparing, compassionate reframing of a much-discussed incident—rooted firmly in the perspective of the actress at its center.

This conversation was moderated by FLC Assistant Programmer Madeline Whittle.