Jordan Cronk

Sink or swim: on paper at least, the 70th edition of the festival looks to be as exciting as any in recent memory

Send in the clouds: the latest edition featured arguably the strongest competition of the past five years

Fabric of time: an overview of a tumultuous era of moving image works

Pedro Costa returns with the masterful Vitalina Varela—quite possibly the most beautiful film of 2020

Copy that: the artist and director on her aesthetically intoxicating new film Those That, at a Distance, Resemble Another

In space and time: the experimental filmmaker on building his own cameras, the politics of light, and cinema’s uneasy standing within the art world

Read an excerpt from a forthcoming interview with the director of Vitalina Varela, one of the most acclaimed films of the year

Romanian puzzler Corneliu Porumboiu delights in deceit with the island crime yarn The Whistlers, screening at NYFF

The director of Synonyms looks within to portray the essence of the outlier

While we're young: Tyler Taormina's surburban-set debut comes on like a slightly surreal teen comedy before segueing into something far stranger 

Dead or alive: the director of Zombi Child on voodoo, the oneiric, and his use of music

I’ll be your mirror: the director and his frequent lead on Tommaso, an auto-fiction set in Rome

Waiting on the day: this year’s festival features work from a promising collection of young directors

Rough necks: the Argentine filmmaker on how the personal and the political inform his new Men of Hard Skin

Avant le déluge: our first overview of this year‘s offerings, including films by the Dardenne Brothers, Lav Diaz, and Pedro Almodóvar

Wheel of fortune: The 1991 Queen of Diamonds, at BAM April 26, proceeds in a deceptively complex, elliptical fashion

Running on empty: No Data Plan frames a three-day train journey as a microcosm of the immigrant experience

With Long Day’s Journey Into Night, in theaters April 12, Bi Gan returns to his hometown through an elaborate romance of dreams and memories

New age: Kiyoshi Kurosawa, Alice Rohrwacher, and VR and its discontents at the Doha Film Institute's industry summit in Qatar

It's relative: the directors of MS Slavic 7 on the use of biography and the strange experience of playing a version of your director on screen