NYFF 2018: The Grand Bizarre
The textiles, each unique and colorful individually, combine to form a cohesive body of art that seems to transcend borders.
NYFF 2018: The Other Side of the Wind
In considering The Other Side of the Wind as Orson Welles’s final statement, one must come to terms with the fact that it is no longer really his film.
NYFF 2018: Sorry Angel
By the time the film draws to a close, Honoré’s made sure we’ve seen it all: plenty of mourning, sex, and smoking on picturesque Parisian bridges.
NYFF 2018: Wildlife
The directorial debut of actor Paul Dano organizes familiar faces, subjects and themes into a new, and moving, pattern.
NYFF 2018: Transit
In transit, relationships are evacuated of any real meaning, identity is rendered deliberately superficial and interchangeable, and what little the immigrants do own they carry with them.
Changing the Conversation: On First Reformed
First Reformed deploys a host of Protestant self-punishing trappings and conventions to fabricate a seductive spectacle out of white male guilt and self-pity.
Wild Boys
Four strutting teenage boys played by four strutting teenage girls compose the magnetic centerpiece of Bertrand Mandico’s heady debut feature, Wild Boys (Les garçons sauvages), which had its New York premiere on February 24th at The Film Society of Lincoln Center. Supremely bizarre, extraordinarily thoughtful, and operating according to a brilliant and idiosyncratic logic all...
NYFF 2017: Two Films from Hong Sang-soo
His two works feel like culminations in other ways too, messing with Hong’s usual structures while asserting themselves as two of the most deeply personal and mysterious entries in his filmography
NYFF 2017: Wonder Wheel
Through her character, and her sneakily masterful performance, we can navigate the film as an intensely confessional work by its director.
NYFF 2017: Lover for a Day
It’s an incredibly poignant, if rather confused, meditation on the multiple valences of love and fidelity from an intergenerational perspective.
NYFF 2017: Joan Didion: The Center Will Not Hold
What is striking about Didion as she’s shown throughout the film is not her glamour, but her steely resolve.
A Gentle Creature
Despite the significant changes made to the original story’s plot, the film preserves the written text’s cold and detached tone towards the investigation of a tragedy, maintaining a suspenseful tension throughout.
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