NYFF

Time passes slowly: the Chinese filmmaker discusses his latest, which makes a collage out of documentary-style footage shot during the making of his films over the last twenty years

Close reading: Matías Piñeiro’s You Burn Me and Jem Cohen's Little, Big, and Far are both richly attuned to the surfaces of things

Up north: the master filmmaker discusses how a lingering case of COVID-19 and a novel by his late friend gave rise to his newest feature

Town limits: Athina Rachel Tsangari's Harvest and Rungano Nyoni’s On Becoming a Guinea Fowl both explore the tender, vexing paradoxes of home

If you build it: a pervading sense of mourning is the most coherent thing about Brady Corbet's The Brutalist, an otherwise largely unfocused and self-important movie

Watch the stars: the photographer and filmmaker discusses his new adaptation of Colson Whitehead's novel, the film’s compelling use of first-person point of view, and his interest in capturing what he calls “adjacent images”

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

Decline and fall: the French discusses her Palme d’Or–winning feature, which uses courtroom-drama tropes to fashion a dark, witty, and tender dissection of the complexities of romantic and family life

Sweet nothings: all-star critics Molly Haskell, Adam Nayman, and Kelli Weston join for a Film Comment Live talk to discuss and debate all the highlights of the festival that was

Love in the afternoon: the French filmmaker discusses her return to cinema, the productive tension between realism and expressionism, the art of the sex scene, and much more