Features

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

Screen time: multimedia artist Josh Kline’s sprawling exhibition at the Whitney Museum attempts to untangle climate change, consumerism, and the function of art in the face of catastrophe

Truth content: the latest from Nicole Holofcener, You Hurt My Feelings, expands on the director’s women-centric inquiries into marriage and its complicated demands of candor and companionship

Picture book: this year’s festival kicked off with a swirl of controversy and a dud opening night film, before finding its footing with films like Catherine Corsini’s Homecoming, Cédric Kahn’s The Goldman Case, and others