If there was ever a time when we needed to be reminded that the art of cinema is in robust health, it’s now.
The festival’s 60th edition is, among other things, a celebration of cinema’s limitless capacity for renewal.
If ever the world needed to be reminded of cinema’s world-making possibilities, it’s now.
There’s something equal parts twisted and romantic about the format of the drive-in theater uniting with theater-killing streaming technology to preserve the institution of the film festival.
If cinema is, indeed, the domain of freedom, then the festival doesn’t see Netflix as the villain in that struggle.
Today, Netflix has given us our first look at the film, which stars Robert De Niro, Al Pacino, and Joe Pesci.
This year’s main slate, the most geographically far-flung in recent memory, features 30 films from 22 different countries.
Today, the Film Society of Lincoln Center’s New York Film Festival announced its main slate of films for this year’s event.
Films from two of our most prolific auteurs will open and close NYFF this year, but more noteworthy are the eight films in the main slate made my women.
Uncle Howard attempts to do much the same thing as I Called Him Morgan but with less success.
Petra Epperlein’s personal ties to the subject matter provides the documentary with a necessary anchor point.
This year’s festival is chockablock with studies of human relations that are connected to a soulful sense of consciousness-raising.
In addition to new works by auteurs new and old, the festival is once again rich in sidebars and special events that aren’t to be missed.
The detail Fincher will bring to Gone Girl’s secrets may speak to the essence of this ambitiously far-flung cultural event.
A buzzworthy turn overshadowing a movie’s failings is a trend this Oscar season.
The long love scenes between Emma and Adèle have garnered a lot of attention in discussions of Blue Is the Warmest Color.
Few directors are as enamored with the passage of time and the preservation of memory as Richard Linklater.
Perhaps the most crucial element of Jonze’s vision is its sympathetic embrace of the volatile beating hearts of its characters.
For Stiller, apparently, James Thurber’s classic story is occasion to craft what eventually amounts to a totem to his own vanity.
Marion Cotillard is an icon of suffering in James Gray’s somber passion play.