Features

Boo: premised on illusion and promising endless reanimation, cinema is often called the ghostliest of mediums, haunted by phantoms since its beginnings

Shutter speed: a new series at the Museum of Modern Art showcases a staggering range of Iranian films made before the revolution of 1979, including including films by Bahram Beyzaie, Amir Naderi, and Masoud Kimiai

Through the lens: Martin Scorsese’s Killers of the Flower Moon explores an overlooked chapter of American history, and intervenes in film history itself, especially as it pertains to representations of Native peoples

Listen to this: the place and role of music in NYFF61 biopics Maestro and Priscilla is instructive of the ways in which an artist’s life can only be understood through their work

Purple haze: highlights of the NYFF61 Currents shorts programs make a case for a cinema that turns minimalism and economy into a field for vibrant, unfettered experimentation

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