Be like water: Víctor Erice’s Close Your Eyes and Kleber Mendonça Filho’s Pictures of Ghosts are love letters to cinema that take very different approaches
Future days: two of the most anticipated films from this year's edition, Bertrand Bonello’s The Beast and Harmony Korine’s AGGRO DR1FT, share a desire to provoke
Out of the fog: the NYFF61 Revivals section features a thematic thread of films about immigration and displacement: Bahram Beyzaie’s The Stranger and the Fog, Tewfik Saleh’s The Dupes, Horace Ové’s Pressure, and more
Imitation of life: Todd Haynes’s latest, which opens this year's NYFF, rips a tale from the tabloid headlines and turns it into a modern melodrama of desire, deception, and delusion
Signs of the times: the most useful films for this moment of labor unrest in the film industry are those made in close connection with the workers on the front lines
Speechless: in her overview of silent film festivals around the world, scholar Maggie Hennefeld describes fragments of lost worlds revived, offering jolts of existential promise
Through the looking glass: Greta Gerwig’s Barbie is something smarter than girlboss fantasy or canny corporate sellout—it’s a grappling, rather, with the fundamental ways in which we represent and relate to reality
Cool heads prevail: this year’s edition—especially since a recent turn to collective curation—took a typically protean approach, yielding some audaciously uncategorizable and hybrid works
Youth in revolt: in the work the late French filmmaker Jean Eustache, the inexorable pain of living is transformed, through autobiography, into luminous cinema
Sing out: a program at the Academy Museum in Los Angeles showcases the many possibilities of concert movies—both as cinema and as performance—through a range of classics
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