#NYFF60

[kendallroyspeacoat]

Just Jeremy in a NYFF60 panel, looking like he has just had a rough day as Kendall Roy :'(

He did smile too 🥹🥲

[adamdforever]

Good morning

[fancyschmancyopinions]

ROONEY MARA at the “Women Talking” Event at the 2022 New York Film Festival on October 10th 2022 wearing GIVENCHY

Rooney looks fine, but I’m just not super impressed with this look. It’s a cool and casual look, but there’s just nothing super interesting about the look. There’s some volume to the skirt but it just feels like a basic black dress. I wish she had chosen to wear some jewelry to make it more interesting.

[foxsoulcourt]

Women Talking

For a VaRiEtY of reasons last week I went down some rabbit holes around this movie + the principals involved.

Navigating this experience illuminated how I want to stretch + grow in terms of exercising leadership, no matter my role within a group or community. I stand in wonder learning a bit about how DeDe Gardner, Sarah Polley + Frances McDormand collaborate. Their vision of how movies can create conversations to help shift important social dynamics INSPIRES ME.

If you are similarly interested, here's some links you might enjoy.

update 3/12/23 8:00pm SARAH POLLEY JUST WON THE ACADEMY AWARD FOR BEST ADAPTED SCREENPLAY!!! Watch her JoYfuLLy run up to give her iNsiGhTfuL acceptance speech here.

Back in Sept2022 at TIFF2022 (25 min) this L o V e L y small group convo happened. Among other bits, LOVED moderator Sonia Lawrence's summary statement that what she takes from the film into her life is not the community's lack of judgment, but their presence of care.

Here's Frances at MVFF (54 min) - where she read some bits from Sarah Polley's brave book Run Towards The Danger; spoke about the magnificient collaboration between Polley (screenwriter + director), producer Dede Gardner + herself; and described the impact of Polley's way of exercising leadership on others. Watching this video is the first time I've seriously considered using the descriptor 'matriarchal leadership style.' Loved this bit (which is mostly a direct quote), "Movies are not answers, but they are propaganda + conversation starters... we're actively screening at colleges + universities... using the moving to talk about the future, not about the horrible present, but the future + try to radicalise the conversation more. "

Claire Foy in a convo moderated by Kate Erbland (28 min) - about how Foy landed as Salome, what it was like to work with Polley as a director, and more. At 14:05 min there's a sweet bit about the experience of acting with Ben Whishaw + his role in the movie.

NYFF60 (19 min) - Eugene Hernandez does an admirable job getting each person to reflect on the movie within this relatively short panel conversation.

In February Polley + Ben, and then Buckley + Foy were on London Live (9:25 min). L O V E D how about 3/4 of the way through Buckley gently pushes back on interviewer's assumption that the women character's lives were foreign to the actors playing them. They're not, she said, not at all. What WAS foreign + welcome was the ability for a group of women to have an extended conversation about a complex issue and then to make a decision which will have an impact on the rest of their lives. D A M N, if that isn't sobering!

I didn't know August Winter before watching these interviews, so found this Autostraddle interview w/cast member August Winter about the movie + navigating the industry as a non-binary actor + this video. I appreciate hearing from them directly about their character Melvin who is a trans man + learning why silence is such a significant part of their character's behaviour.

Lastly, reading some of Polley's IG posts reminds me that the people I admire most know their worth, yet a l w a y s shine a light on those around them. After listening + watching Polley today, I am even.more.encouraged to do the same. Currently the latter is easier than the former. #work in progress

[andersonvision]

Film at Lincoln Center has released its programming lineup for the 2023 spring season, which runs from March through June. The season kicks off with a selection of short works by Cauleen Smith, followed by a retrospective of the works of Tod Browning. The lineup also includes some NYFF60 Main Slate selections, such as Stonewalling by Huang Ji and Ryuji Otsuka, Laura Citarella’s Trenque Lauquen, and Cyril Schäublin’s Unrest. FLC will also host several festivals, including New Directors/New Films, the New York African Film Festival, the Human Rights Watch Film Festival, and Open Roads: New Italian Cinema. An Evening with Terence Blanchard is also scheduled, featuring a screening of Louis Armstrong’s Black and Blues, with director Sacha Jenkins and composer Terence Blanchard in attendance. Film descriptions and additional details are available on the Film at Lincoln Center website. The FLC programming team includes Florence Almozini, Senior Director, Programming; Manuel Santini, Senior Manager, Programming; Dan Sullivan, Programmer; Regina Riccitelli, Senior Programming Coordinator; Madeline Whittle, Assistant Programmer; Tyler Wilson, Programmer; Cecilia Barrionuevo, Programmer-at-Large; and Claire Diao, Programmer-at-Large. Members of FLC save $5 on all tickets and can sign up for the weekly newsletter for updates and more. What's playing Spring 2023 at Film at Lincoln Center? Open Roads: New Italian Cinema The 21st edition of Open Roads: New Italian Cinema, co-presented by the Italian Trade Agency, brings a diverse array of contemporary Italian films to FLC audiences. Showcasing the scope of contemporary Italian filmmaking, this year’s edition offers a mixture of the comic and the dramatic, the political and the personal, with styles ranging from neorealist-influenced drama to genre-bending experimentation. Tickets on sale now! Organized by Florence Almozini and Tyler Wilson. Additional Screenings & Series: Cauleen Smith: Short Works and Drylongso March 4–6 Born in Riverside, California, in 1967, artist and filmmaker Cauleen Smith creates films, installations, objects, and performances that employ everyday materials and handmade techniques to explore issues of race, identity, and social injustice. Film at Lincoln Center is proud to present a selection of Smith’s short works to be presented alongside a 4K restoration of her 1998 feature debut Drylongso (an NYFF60 Revivals selection), with Smith in-person to discuss her work. Organized by Tyler Wilson. Unspeakable: The Films of Tod Browning March 18–24 Tod Browning’s career was marked by a fascination with physical difference and transgression, particularly the depiction of characters on the margins of society. Often vilified in his day, Browning has since been recognized as a unique and visionary filmmaker whose movies probe the darkest corners of the human psyche. This retrospective of his career includes some of his most well-known films, as well as several lesser-known gems. Organized by Dan Sullivan. Enys Men and Bait March 23–25 Cornish filmmaker Mark Jenkin made an international splash with his 2019 debut feature, Bait, which was praised for its combination of old-school craftsmanship and contemporary relevance. His follow-up, Enys Men, is a remarkable and beguiling documentary portrait of an island off the coast of Cornwall. Shot on Super 8 and 16mm film and with a hypnotic ambient score by composer Jim Ghedi, Enys Men offers a poetic glimpse of a place where the past and present seem to coexist. Jenkin will be in-person for the screenings of both films. Organized by Tyler Wilson. An Evening with Terence Blanchard: Louis Armstrong’s Black and Blues April 11 As part of FLC’s ongoing commitment to exploring the intersection of film and music, we are proud to present An Evening with Terence Blanchard, featuring a screening of Louis Armstrong’s Black and Blues, with director Sacha Jenkins and composer Terence Blanchard in-person. Organized by Dan Sullivan. Retrospectives: Apichatpong Weerasethakul May 26–June 4 One of the most acclaimed filmmakers of the 21st century, Thai director Apichatpong Weerasethakul has created a body of work that is both deeply personal and widely resonant. Drawing on his experiences growing up in a small town in northern Thailand, as well as his interests in spirituality, history, and the natural world, Weerasethakul has created films that are marked by their dreamlike atmosphere, their fluid sense of time and space, and their use of non-professional actors. This retrospective includes both his features and several short films, as well as his video installations and other works. Organized by Dan Sullivan.

[greyreign]

#Repost @filmlinc ・・・ Shortlisted for Best International Feature Film at the 95th Academy Awards, Alice Diop's SAINT OMER is an arresting yet highly sensitive, superbly acted film of constantly revealing layers. The #NYFF60 selection opens next Friday with Q&As with Diop and lead actress Guslagie Malanda on 1/13 & 1/14! Get tickets at filmlinc.org/saint — view on Instagram https://ift.tt/bdmjqlh

[caroleditosti]

'Triangle of Sadness,' NYFF60, Östlund's Brilliant Satire

‘Triangle of Sadness,’ NYFF60, Östlund’s Brilliant Satire

The outrageous, mind-bending Ruben Östlund (Force Majeure and The Square) presents an informal treatise on power constructs in his immensely sardonic, over-the-top Triangle of Sadness. Deftly, Östlund presents an interesting sequence, holds our attention, then gyrates away on another tangent. Tension, shock and awkwardness, that comes from uncertainty and being whipped off-balance, characterizes…

[softestaura]

Taylor Russell for the NYFF60 screening of ‘Bones and All’

[fcknlz]

60th New York Film Festival

[pacingmusings]

New York Film Festival 2022:

One Fine Morning (Mia Hansen-Love), 2022

[noodlekugel]

I had the privilege of seeing Bones and All at the New York Film Festival last night!

Bones and All is an intense, visceral experience. Some of it is hard to watch, but you won't be able to look away.

Taylor Russell carries the movie, and it truly is a star making performance in the way Call Me By Your Name was for Timothée Chalamet. I'll be surprised if she doesn't see a ton of awards nominations this season.

Timothée gives a nuanced performance as Lee. He's a character who is constantly being unraveled like an onion, who is intentionally hard to read but wins your heart, where each piece you learn informs more about his character and acting choices. I'd love to see him pick up awards nominations, but if he's submitting as supporting actor, I think he'll be overshadowed by Mark Rylance (who was also excellent), whose Sully is loud showy and eccentric. It was fun to see Tim in a different role than he's played before, though, and it shows that he's got incredible range.

(This is very hard to talk about without spoilers! Feel free to reach out if you have questions.)

Here are some of my pictures from the event! Please do not steal them.

[loveandthings11]

NYFF60 for Armageddon Time!

[fancyschmancyopinions]

GABRIELLE UNION at the premiere of “The Inspection” at the New York Film Festival on October 14th 2022 wearing PRADA

I really liked this look from Gabrielle. I thought the brown and yellow dress looked so pretty on her. The colors really worked well together, and I loved the pattern. I don't love the lines down her stomach, but otherwise loved the dress. I think the hairstyle also looked great. It seemed like a perfect outfit for this event and Gabrielle looked phenomenal.

[adamdforever]

Monday motivation 😉

[team-downey-1965]

xx

[i-am-skinny-sir]

Bones & All at NYFF60