NYFF

Birth of tragedy: the search for truth, both personal and historical, is the driving force of Parallel Mothers, Pedro Almodóvar’s most openly political film to date

Common people: the Norwegian director discusses his latest, a shape-shifting romantic comedy of self-realization, The Worst Person in the World

Time’s arrow: in Apichatpong Weerasethakul’s Memoria, the past is alien, layered with trauma and the beauty of the unknowable

Saddle sore: Jane Campion’s latest is lacking in the richly personal, idiosyncratic feminism of her great early films

In dreams: the Georgian director discusses the method behind the delicate balance of romance, folklore, and social critique in his What Do We See When We Look At The Sky?

Motorhead: the director of Titane on the film’s surprising use of humor, her abiding interest in “opening the skin,” and much more

I’m looking through you: The common denominator in Ryūsuke Hamaguchi’s Drive My Car and Wheel of Fortune and Fantasy is an acceptance of transience in all things

Bong Joon-ho’s tour de force Parasite, a highlight of NYFF57, is part twisty social thriller, part heart-stopping tragicomedy

Nobody wins in Noah Baumbach’s fraught and funny Marriage Story, a precise chronicle of a split that cuts deep

Gordon Hitchens, Film Comment's founding editor, reports on the first New York Film Festival