This week we’re excited to present an archival conversation from 2020 with Academy Award-nominated filmmaker RaMell Ross, moderated by Academy Award-nominated filmmaker Garrett Bradley (Time). The two discuss Ross’s documentary Hale County This Morning, This Evening, which was a 2018 New Directors/New Film selection. Ross’s next feature, Nickel Boys, an adaptation of Colson Whitehead’s Pulitzer Prize–winning novel, will open the 62nd New York Film Festival on September 27. 

“The American stranger knows Blackness as a fact—even though it is fiction,” says writer-director RaMell Ross. For his visionary and political debut feature, Ross spent five years intimately observing African-American families living in Hale County, Alabama. It’s a region made unforgettable by Walker Evans and James Agee’s landmark 1941 photographic essay, Let Us Now Praise Famous Men, which documented the impoverished lives of white sharecropper families in Alabama’s Dust Bowl during the Great Depression. Ross’s poetic return to this place shows changed demographics and depicts people resilient in the face of adversity and invisibility. An Oscar nominee for Best Documentary Feature, Hale County This Morning, This Evening introduces a distinct and powerful new voice in American filmmaking.

This week we’re excited to present a conversation with Red Island director Robin Campillo from the 2024 edition of Rendez-Vous with French Cinema.

Rendez-Vous and NYFF veteran Robin Campillo, whose 2017 period drama BPM: Beats Per Minute reconstructed and celebrated ACT UP’s legacy of AIDS activism in France during the 1990s, once again draws on personal history with his latest film, reaching back further to evoke a sumptuously visualized 1970s childhood spent with his military family on Madagascar. Growing up on one of the last remaining French colonial bases on the island, young Thomas (Charlie Vauselle) keeps a curious and observant eye on the adults around him, not least his parents (Nadia Tereszkiewicz and Quim Guterriez). Bonding with young Suzanne (Cathy Pham) over the Fantômette comic books, Thomas’s imagination and observational powers grow even as the world around him is about to die. Making striking use of a child’s perspective, Campillo’s carefully observed drama of a lost world is lyrical and clear-eyed in equal measure.

This conversation was moderated by FLC Vice President of Programming Florence Almozini.

This week we’re excited to present a conversation with Good One director India Donaldson and cast members Lily Collias and James Le Gros from the 2024 edition of New Directors/New Films.

Good One opens at FLC on August 9 with Q&As opening weekend.

A seemingly small incident has monumental implications in the extraordinary feature debut of India Donaldson, a film of expertly harnessed naturalism and restrained emotional intensity. Seventeen-year-old high school senior Sam (a revelatory Lily Collias) has agreed to join her father Chris (James Le Gros) and his longtime buddy Matt (Danny McCarthy) on a camping trip in the Catskills, though she’d rather be hanging with her friends for the weekend. Affable and wise, Sam at first seems to enjoy the intergenerational bonding experience with the two divorced dads, yet the men’s own festering, middle-aged resentments begin to change the emotional tenor of the trip—until something happens that alters Sam’s perception of the men and her place in their orbit. Amidst the lush beauty and contemplative forest atmosphere in upstate New York, Good One asks provocative questions about the dynamics of family, friendship, and what it means to engage in or avoid conflict. A Metrograph Pictures release.

This conversation was moderated by FLC Assistant Programmer Madeline Whittle.

This week we’re excited to present a conversation with Customs Frontline lead actor Nicholas Tse, recently on hand for the film's North American Premiere at the 2024 New York Asian Film Festival.

In this explosive Hong Kong thriller, superstars Nicholas Tse (2024 Screen International Star Asia Awardee) and Jacky Cheung ignite the screen as customs officers caught in a deadly web of arms smuggling. Tse, in a powerhouse performance that also marks his debut as an action director, plays the uncompromising Chow Ching-lai, whose unwavering dedication puts him on a collision course with the elusive mastermind behind the weapons trafficking, while Cheung, as Chow’s mentor and superior, brings a world-weary gravitas to the role. As the stakes rise and the body count mounts, Chow and his Thai counterparts race against time to thwart the shipment of stolen weapons. With pulse-pounding action, shocking twists, and a villain who seems to be everywhere and nowhere at once, this is a white-knuckle ride that will take you to the very edge of the law, a place where even the good guys can’t be trusted, and the only thing more dangerous than the criminals might be the truth itself. A Well Go USA release.

This conversation was moderated by NYAFF’s Executive Director Samuel Jamier.

This week we’re excited to present a conversation with Dìdi director Sean Wang, who recently joined us for the 2024 New York Asian Film Festival.

In his feature debut, Sean Wang, hot on the heels of his Oscar-nominated documentary short Nǎi Nai & Wài Pó, crafts a poignant and humorous narrative that captures the essence of adolescence in 2008 California. Thirteen-year-old Chris, aka Wang Wang (Izaac Wang), navigates the treacherous waters of teenage life, from awkward dating to ruining friendships, while discovering his passion for skateboard filming. Wang deftly employs timeless coming-of-age tropes, exposing the embarrassing and hilarious moments that define this pivotal stage. However, it is Chris’s struggle with his identity as an Asian American that elevates the film. Joan Chen and Shirley Chen deliver nuanced performances as Chris’s mother and sister, respectively, adding depth to the family dynamics. Wang’s nonfiction background lends authenticity and an insightful touch to this resonant dramedy, reminding us that the journey to self-discovery is universal, regardless of one’s background, and that the path to understanding oneself is often paved with both laughter and tears. Winner of the 2024 Sundance Film Festival Audience Award: U.S. Dramatic and U.S. Dramatic Special Jury Award: Ensemble.

Dìdi opens in theaters on July 26, courtesy of Focus Features.

This conversation was moderated by NYAFF’s Executive Director Samuel Jamier.

This week we’re excited to present a conversation with The Life Ahead director Edoardo Ponti who recently joined us for the retrospective Sophia Loren: La Signora di Napoli.

Sophia Loren delivers a towering performance in her son Edoardo Ponti’s 2020 adaptation of the novel Madame Rosa, which embodies the range, intelligence, and innate charisma of the legendary actress. Previously adapted in 1977 by Moshé Mizrahi, with Simone Signoret in the lead role, Ponti moves Romain Gary’s novel to Bari, Italy, where a Holocaust survivor turned children’s caretaker (Loren) forms an unlikely friendship with a bitter street kid (a spectacular Ibrahim Gueye) after he robs her. By turns tender and haunted, the storied role of Rosa is imbued here with the unmistakable wisdom of a seasoned performer, who subtly nods to her own illustrious on-screen persona with subtlety and grace.

This conversation was moderated by FLC Programmer Tyler Wilson.

This week we’re excited to present a conversation between My Dinner with André lead actor Wallace Shawn and Janet Planet filmmaker Annie Baker.

When Dan Talbot, the pioneering distributor and exhibitor of international art films, read playwrights Wallace Shawn and André Gregory’s script for My Dinner with André, he was so excited about the project that he helped director Louis Malle procure production funding from Gaumont. The concept was to depict an encounter between the two writers, playing fictionalized versions of themselves, as they discuss mortality, money, despair, and love over a meal at an Upper West Side restaurant—according to Gregory, Malle’s one direction was to “talk faster.” By turns entertaining, confessional, funny, and moving, suffused with melancholy and joy alike, the film became a sensation at the art house upon its release, playing to packed theaters for a solid year, and went on to endure as a perennial favorite on the home video circuit.

Now please enjoy the conversation between Annie Baker and Wallace Shawn.

This week we’re excited to present a conversation with Last Summer director Catherine Breillat and lead actress Léa Drucker from the 61st New York Film Festival. An NYFF61 Main Slate selection, Last Summer opens Friday at FLC, featuring Q&As with Breillat on Friday, Saturday, and Sunday. Get tickets at filmlinc.org/summer

One of the world’s most consistently provocative filmmakers for nearly 50 years, Catherine Breillat proves with her incendiary, compelling new drama that she is not through toying with viewers’ comfort levels. In Last Summer, Léa Drucker stars as Anne, a lawyer who specializes in cases of sexual consent and parental custody. Seemingly happily married to kind-hearted businessman Pierre (Olivier Rabourdin) with adopted twin daughters, Anne inexplicably finds herself drawn to Pierre’s estranged 17-year-old son Théo (Samuel Kircher) after the boy returns home to live with them. Embarking on a passionate affair with the teenager, Anne all too willingly thrusts herself into a maelstrom of attraction, intimidation, and manipulation. Breillat’s incisive screenplay—cannily altered from the Danish erotic thriller Queen of Hearts on which it’s based—elegantly surveys the situation’s extreme power dynamics while giving the brilliant Drucker the chance to create a character who exists entirely within her own moral boundaries. A Sideshow/Janus Films release.

This conversation was moderated by NYFF Artistic Director Dennis Lim.

This week we’re excited to present a conversation with Music director Angela Schanelec following her film’s U.S. premiere in the Main Slate at the 61st New York Film Festival. Music opens at Film at Lincoln Center next Friday, June 28 with introductions by Doug Tielli, the singer-songwriter featured in the film, at the 6:15pm screenings on June 28 and 29.

Get tickets to Music!

Leading contemporary German filmmaker Angela Schanelec is singularly adept at creating dramas of unexpected catharsis via the most oblique narrative strategies. Her latest film, Music, pushes this approach to new levels of emotionality. Using abstract gestures and broad narrative ellipses, yet still managing to plumb the depths of its characters’ complicated traumas, Music tells the story of a young man and woman unknowingly united by the same violent death. Brought together by fate and horrible irony, Ion (Aliocha Schneider) and Iro (Agathe Bonitzer) first meet in prison, where he’s an inmate and she’s a guard; they kindle a romance fomented by passion for classical music and opera, followed by marriage and children. Yet as in all tragedies, the past returns to haunt them. Inspired by the Oedipus myth, Schanelec has created an alternately austere and vivid portrait of grief and redemption through art told with her distinctive compositional rigor.

This conversation was moderated by NYFF Advisor Michelle Carey.

This week we’re excited to present a conversation with Film at Lincoln Center Assistant Programmer Madeline Whittle, as she discusses the films featured in FLC’s new series Angels and Puppets: The Stage on Screen with Annie Baker.

A series of 17 films handpicked by acclaimed playwright Annie Baker that engage with theater as a cinematic theme, Angels and Puppets: The Stage on Screen with Annie Bakera runs from June 14-20 in anticipation of the release of Baker’s directorial debut, Janet Planet, on June 21.

Get tickets to Angels and Puppets: The Stage on Screen with Annie Baker!

Get tickets to Janet Planet!

Many films in the series will be shown on 35mm and Baker will join us in-person for select introductions and Q&As, including a sneak preview of Janet Planet on June 20. Opening Night of the series will feature Louis Malle’s iconic collaboration with André Gregory and Wallace Shawn, My Dinner with André (1981) and Vanya on 42nd Street (1994), both presented on 35mm. Baker will also engage in a discussion with Shawn about each film’s perspective on theater as an art form and its translation to the big screen.

The conversation was moderated by Erik Luers, FLC's Digital Marketing Manager.