‘CAROL’ comes to life on the silver screen today. Here are a few reasons why we think it shouldn’t be missed.

Carol poster

As one of the most anticipated films of this year’s New York Film Festival, CAROL most certainly blew everyone’s expectations out of the water. Here are just a few reasons why we adore this elegant film…Carol still Cate and RooneyThe Plot:

 In an adaptation of Patricia Highsmith’s seminal novel The Price of Salt, CAROL follows two women from very different backgrounds who find themselves in an unexpected love affair in 1950s New York. As conventional norms of the time challenge their undeniable attraction, an honest story emerges to reveal the resilience of the heart in the face of change. A young woman in her 20s, Therese Belivet (Rooney Mara), is a clerk working in a Manhattan department store and dreaming of a more fulfilling life when she meets Carol (Cate Blanchett), an alluring woman trapped in a loveless, convenient marriage. As an immediate connection sparks between them, the innocence of their first encounter dims and their connection deepens. While Carol breaks free from the confines of marriage, her husband (Kyle Chandler) begins to question her competence as a mother as her involvement with Therese and close relationship with her best friend Abby (Sarah Paulson) come to light.

ROONEY MARA and CATE BLANCHETT star in CAROL

ROONEY MARA and CATE BLANCHETT star in CAROL

The Cinematography:

Edward Lachman is a genius behind the camera. Having worked hand in hand with Director Todd Haynes on Far From Heaven in 2002, his visual landscape for Carol is unmatched. Shot in 16mm, perfectly framed, with delicate but specific shots through windows and the focus on the color of crimson and corals, make this a true feast for the eyes.

You can watch Ed discuss his experience in an interview from NYFF53 here.Carol still Kyle Chandler

The Performances:

We’re not shy about our love for Cate Blanchett, nor is The Academy. In truth, there is not a single loose thread in the casting of this film. In the film’s press conference this week, you could see and hear the passion the entire cast held for the project and the respect they had for Phyllis Nagy‘s immaculate adaptation. This is not a story about a lesbian couple, this is a story of two people falling in love. The effortless nature of Blanchett, Mara, Chandler, Paulson, and Lacy as an ensemble evokes the kind of emotion so rarely experienced in the cinema these days. Both Cate and Rooney landed on my Top Female Performances of NYFF53 list. Lacy’s boyish charm and naivete bound off the screen. Chandler’s masculinity and energy are a powerful match for both the period and Blanchett. And as for Sarah Paulson (my favorite player in American Horror Story, every season), well, I wanted to put her in my pocket and place her in every film from here on out. It’s the kind of presence that should not be overlooked, ever. These actors are extraordinarily great at their jobs. There is no doubt about it, CAROL is a timeless film.

(L-R) KYLE CHANDLER and CATE BLANCHETT star in CAROL

(L-R) KYLE CHANDLER and CATE BLANCHETT star in CAROL

For a mere taste of what you’re in for, here is the trailer:

CAROL– Opening In Limited Theaters November 20, 2015

Rated R | Runtime 118 minutes

Carol still Sarah PaulsonCarol still Rooney

Carol still Todd Haynes and Cate Blachett

 

9 movies from the New York Film Festival you can watch this fall

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Philippe Petit (Joseph Gordon-Levitt) in TriStar Pictures' THE WALK.

Philippe Petit (Joseph Gordon-Levitt) in TriStar Pictures’ THE WALK.

The Walk – In theaters now

Summary:

Truly a Robert Zemeckis film, The Walk is best watched as Liz and I did – IMAX 3D. Even those with only a slight fear of heights will be kept pinned to their seats, gripping the armchair, as we both did. There’s so much to appreciate about people who have dreams.


 

ST. JAMES PLACEBridge of Spies – in theaters now

Summary:

 

EXPERIMENTER-2Experimenter – in theaters & VOD now

Summary:

The story behind the story, Experimenter tells the tale of the man as he begins the most famous of his experiments. With several high-profile cameos, director Michael Almereyda uses several creative ways to punch up ordinary scenes.



 

 

Heart of a DogHeart of a Dog – in theaters October 21st

Summary:

Michael Stuhlbarg, Michael Fassbender, Kate Winslet Steve Jobs

Steve Jobs – nationwide October 23rd

Summary:

Liz’s non-iPhone user review here!


 

Brooklyn-2Brooklyn – in theaters November 6th

Summary:

 

MIA MADRE_1304Mia Madre – in theaters November 6th

Summary:

Liz loved it! Find out why in her review!


 

Ingrid Bergman In Her Own Words-1

Ingrid Bergman – In Her Own Words – in theaters November 13th

Summary:

Liz tells you why you’ll love the personal story of the Hollywood starlet in her review!


 

(L-R) KYLE CHANDLER and CATE BLANCHETT star in CAROL

(L-R) KYLE CHANDLER and CATE BLANCHETT star in CAROL

Carol – in theaters December 18th

Summary:

What did I think of it? Find out in my review!

Top 10 of the 53rd New York Film Festival

NYFF 53 bannerThis year’s New York Film Festival was full of surprises. While you can always count on big names, great directors (old and new), splendid writing, and some of the most stunning cinematography, there were quite a few films that truly stood out from the pack. Here are the Top 10 films that we saw this year.

Coming soon… RND’s Top 10 Honorable Mentions and an update on Release Dates of each of the fest’s selections thus far!

In Alphabetical Order:

079

Arabian Nights: Volume 2, The Desolate One

Miguel Gomes, 2015, DCP, 131 minutes
U.S. Premiere, Entrant for Academy Award for Best Foreign Film
Unfolding in a more melancholic register, the second part of Miguel Gomes’s monumental yet light-footed magnum opus shifts tones and genres at will (deadpan neo-Western, Brechtian courtroom farce, tear-jerking melodrama), all the while treating its fantasy dimension as a path to a more meaningful truth.

LIZ

While this is the 2nd film in a series of three, this installment blew the others out of  the water. Presented in s storytelling fashion to keep a murderous king at bay, Arabian Nights 2 gives us three distinct tales. After Volume 1, I was prepared for the structure of the trilogy: Political satire meets serious political situations that occurred in Portugal from 20121-2013. Shaharazad narrates the tales intertwined with real footage and interviews of actual effected countrymen and women. The tales are downright absurd, very loosely based upon those appearing in the original Arabian Nights stories. While at times completely nonsensical, the dialogue is quippy and unapologetic in it’s farcical nature and use of profanity. These films are certainly dynamic and completely uncategorical when it  comes to a genre label. In fact, Volume 2 is being entered into the Best Foreign Language Film in this year’s Oscar race. The tale that I, by far, enjoyed the most is title “Tears of a Judge.” I want this dialogue for my very own performing purposes at some point. It is that far out there a filled with ridiculous levity.


everythingiscopy1-1600x900-c-defaultEverything Is Copy

Jacob Bernstein, 2015, DCP, 89 minutes
World Premiere
This extremely entertaining film is a tribute to director Jacob Bernstein’s mother, the sparkling but caustically witty Nora Ephron: Hollywood-raised daughter of screenwriters who grew up to be an ace reporter turned piercingly funny essayist turned novelist/screenwriter/playwright/director.

LIZ

Let me start by saying, I want to be Nora Ephron when I grow up. Jacob’s intimate portrait of his late mother, a woman we all came to love, adore, and respect is one of my favorites of the entire film festival this year. Admittedly, I am the exact target audience for this doc. 35, pregnant, writer, brash, unapologetic, ambitious. What I learned from all the footage of Nora’s life and sit down interviews with family, friends and colleagues was an insight into how I want to live my own life. While Nora was an open book through her essays and interviews in the public, she was still very much private when it came to her illness in the end, keeping it from her own children for longer than many may have deemed necessary. With beloved films like When Harry Met Sally, Sleepless in Seattle, Julie & Julia, and incredible books like I Feel Bad About My Neck, Ephron was a tore de force as a human and an artist. She made me feel good about my own eclectic life choices thus far. She made me feel like it was alright (in fact brilliant) to be the only girl in “boy’s club”. She proved that a mixture of boldness, outspokenness, humility, love, kindness, and admitting your faults to yourself and world is the only way to live. Everyone adored her. She was one of a kind. Everything Is Copy captures her essence perfectly.


Ingrid Bergman In Her Own Words-5Ingrid Bergman – In Her Own Words

Stig Björkman, 2015, DCP, 114 minutes
Now Available on demand
This lovingly crafted film is composed from Ingrid Bergman’s letters and diaries, the memories of her children and a few close friends and colleagues, photographs, and moments from thousands of feet of Super-8 and 16mm footage shot by Bergman herself.

Liz was delighted by this doc as well. Having not known very much about Ingrid’s life prior to the screen, she found this film to be charming and effective. Read her review here!



lescowboys-1600x900-c-defaultLes Cowboys

Thomas Bidegain, 2015, DCP, 104 minutes
U.S. Premiere
In this unpredictable update of John Ford’s The Searchers, a father embarks on an obsessive quest to bring back his daughter, who has disappeared with her Muslim boyfriend. As the years pass and his life falls apart, the father passes the mission on to his son and the action assumes near-epic proportions as it shifts to post-9/11 Afghanistan.

LIZ

This timely look into race and religion is a two fold story of sorts. While Alain and his son, George, search for his estranged daughter, we are privy an intertwining of their search and the ramping up of Muslim extremism based around actual terror attacks. From before 9/11 to the 2005 London underground bombings, we follow the two as they navigate rival faiths and the yearning to find a loved one. The film is incredibly poignant in so many ways. The script takes some unexpected turns.Oftentimes,  frustrating but always touching and meaningful. Les Cowboys is rich in culture relations and I enjoyed this film on more levels than I ever expected.


THE LOBSTER_06930The Lobster

Yorgos Lanthimos, 2015, DCP, 118 minutes
Releases March 2016
In the future, single people are rounded up and sent to a seaside compound, given a finite number of days to find a match, and turned into animals if they fail. Welcome to the latest dark, dark comedy from absurdist Greek director Yorgos Lanthimos. Winner of a Cannes Jury Prize.

MELISSA

The plot is enough to lift your eyebrows and peak your interest. In, The Lobster, originality is not dead and lives on in this absurdly funny drama. While Colin Farrell is rather flat, it makes you focus on everything around him. Would you consider this the future or an alternate reality? There’s no limit to the conversations you’ll have every time it’s mentioned.



MIA MADRE_1252Mia Madre

Nanni Moretti, 2015, DCP, 106 minutes
U.S. Premiere
A filmmaker (Margherita Buy) tries to cope simultaneously with a mercurial American movie star (John Turturro) and the impending death of her mother (Giulia Lazzarini) in Nanni Moretti’s moving, hilarious, and subtly disquieting new film.

Liz loved it! Find out more and read her review!


MICROBE ET GASOIL-4

Microbre & Gasoline

Michel Gondry, 2015, DCP, 103 minutes
U.S. Premiere
Michel Gondry’s fresh, lyrical, handmade-SFX comedy is a story of two teenage misfits who build a house on wheels and take to the road, sputtering, pushing, and coasting their way across France.

Liz was a huge fan of this new Gondry classic. Check out her thoughts here!


Son of Saul stillSon of Saul

László Nemes, Hungary, 2015, 35mm, 107m
Hungarian and German with English subtitles
A film that looks into the abyss, this shattering portrait of the horror of Auschwitz follows Saul (Géza Röhrig), a Sonderkommando tasked with delivering his fellow Jews to the gas chamber. Determined to give a young boy a proper Jewish burial, Saul descends through the death camp’s circles of Hell, while a rebellion brews among the prisoners. A bombshell debut from director and co-writer László Nemes, Son of Saul is an utterly harrowing, ultra-immersive experience, and not for the fainthearted. With undeniably virtuoso plan-séquence camerawork in the mode of Nemes’s teacher Béla Tarr, this startling film represents a new benchmark in the historic cinematic depictions of the Holocaust. A deeply troubling work, sure to be one of the year’s most controversial films. A Sony Pictures Classics release.

LIZ

There is so much to say about this film. Centered specifically around one man’s story, Son Of Saul, is one of the most emotionally powerful films about the concentration camps realities. Ripe with extended takes and 100’s of extras, this film is one of a kind in it’s technicality. Some of the most impactful moments are created with the sound editing. Yelps and murmured conversations set the tone of the mind. What could be happening just out of focus and out of frame. Son Of Saul is a tribute to all those lost in the Holocaust. Géza Röhrig‘s performance must not be overlooked. His presence grabs you from the first moment on screen and his sincerity to tell a story of man trying to survive while making right with God is one that simply cannot be missed.


SteveJobs-NYFF53-fullSteve Jobs

Danny Boyle, 2015, DCP
Centerpiece
Danny Boyle and Aaron Sorkin joined forces to create this dynamically character-driven portrait of the brilliant man at the epicenter of the digital revolution, working from Walter Isaacson’s best-selling biography and starring Michael Fassbender in the title role, Kate Winslet as Joanna Hoffman, Seth Rogen as Steve Wozniak, Jeff Daniels as John Sculley, Michael Stuhlbarg as Andy Hertzfeld, and Katherine Waterston as Chrisann Brennan.

LIZ

I expected to abhor this film, simply based upon Alex Gibney‘s new doc Steve Jobs: The Man In The Machine (You can hear a Girls On Film Podcast all about his feature here!) I assumed that it would be a glorifying picture of a worldwide idol. Little did I realized that Walter Isaacson‘s book, one I own and have not yet cracked the spine on, would be anything but a fanboy’s essay. Find out how wrong I truly was in my review.


wheretoinvadenext-1600x900-c-defaultWhere to Invade Next

Michael Moore, 2015, DCP, 110 minutes
U.S. Premiere
In his new film, Michael Moore ponders the current state of the nation from a fresh perspective—that is, from the outside looking in—and gives us a film that is as provocative, funny, and impassioned as the rest of his work.

LIZ

With very current viral footage of the mess we find ourselves in currently as a country, from police brutality, Ferguson, wrongful imprisonment, and abortion rights, one might assume that this is yet another typical, angry, leftist doc cobbled together to specifically speak to a base I happen to be a part of politically. Well, think again. This has got to be Michael Moore‘s most upbeat film to date. Presented in a structure of having Michael himself, “invade” countries around the world, Moore travels to discuss the best ideas from each nation. Visiting Finland, Germany, Portugal, and Iceland, just to name a few, Michael chats with citizens and government officials to find out what makes them healthier and happier  than Americans in many ways. Delving to issues such as women’s homework, health clinics, banning drug arrests, paid vacation, free university, sex ed, school lunches, female run government agencies, and prison rehabilitation. The funny part about this film, besides Michael’s own levity and calm demeanor, is that all of these ideals are straight out of what Michael called “America’s Playbook.” In the press conference following the screening, Moore explained that every one of the countries came out to say that these ideas cam from The United States, originally.

“The American dream seemed to be alive and well… everywhere except America.” – Michael Moore

He goes on to say that we should not be mistaken, that he would not want to live in any other country other than the US. He admits that each of these countries certainly has their own problems, as well. The point in making this particular documentary was to show that we can make America even better, if we sit down and have civil conversations, one at a time. Where To Invade Next will be a winner on both sides of the aisle and around the world.

New York Film Festival Review: The gorgeous ‘Carol’ with Cate Blanchett & Rooney Mara

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ROONEY MARA and CATE BLANCHETT star in CAROL

ROONEY MARA and CATE BLANCHETT star in CAROL

Not once salacious, Todd HaynesCarol is a subtle and elegant telling of a romance between two women in the 1950s. Cate Blanchett is the title character and Rooney Mara is the young woman smitten by her. Their affair is brief but not without it’s repercussions.

Todd Haynes knows a little something about 1950s style from Far From Heaven and the mini-series, Mildred Pierce. He captures this era with incredible detail in everything from the costumes to set design to the color coming across on screen. Blanchett’s outfits are absolutely stunning and they convey the level of sophistication of her character.

As for cinematography, all I can say is, WOW. There are so many allusions to hiding and the Liz pointed out the use of windows is especially worth noting. It’s almost as if the film was shot for black and white, but it’s in color. The framing of each scene is focused, yet reveals so much of the story.

Now for the story. While I did appreciate the style, the story was really flat and underwhelming. There’s barely any idea of the affair being forbidden and no one seems to pretend it’s not what it clearly is. Perhaps it’s just hard to think of an affair between two women as an outlandish idea anymore. On one side, I really appreciated this about it, but on another, it really loses something by not illustrating how much of a big deal it was.

Blanchett melts into Carol, but I had a hard time with Rooney as the love interest. That deer-in-headlights look only goes so far. Kyle Chandler was impressive as Carol’s husband evoking a desperation that’s completely transparent.

It may not be the Oscar contender for Best Picture, but certainly could get a nomination for Costume Design. Standby tickets available for tonight’s screening at Lincoln Center.

New York Film Festival Review: ‘Mountains May Depart’ when you Go West

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MOUNTAINS MAY DEPART Zhao Tao 2

Mountains May Depart competed for the Palme d’Or at this year’s Cannes Film Festival and takes a prime spot at the New York Film Festival. Jia Zhangke‘s eighth feature film left me bewildered and baffled.

The story takes place in three different timelines: the past (1999), the present (2014) and the future (2029). It mainly focuses on Tao, a young women who is being pursued by two men, one a successful business owner, the other a mine worker. I had a hard time understanding the theme, but after listening to the Q&A with the director, I have much more insight.

Zhangke tells of how footage of disco dancing first influenced the story. He shot lots of the story in 1999 so it’s a different aspect ratio than the later footage. He describes how he wanted to show how technology changes the way people act. (I want to see the movie he’s talking about.) The technology did seem to be a focus, but not nearly enough for me to get that much of a theme out of it. He also describes how it’s also nostalgic about taking time to appreciate loved ones.

I was most mystified by why Tao had to wear the same sweater so much. May she liked it? Maybe the scenes were shot together, but then he cut them so they appeared later and didn’t want to reshoot?

The acting was stoic and forced through the first half, but did get better near the end. It almost had a Place Beyond the Pines sort of vibe due to the father/son relationship, but again, not enough of it to really be considered a theme. There was also a really strange angle about guns in the third act that perhaps needs explanation to American audiences.

I was intrigued by the cinematography, as several times, the camera would focus only one person, even though the scene was clearly with two or three people. It also had a lot of long shots that moved from character to character. That was the most interesting for me.

A great conversation movie, as you can pore over so many of it’s unanswered questions.

New York Film Festival Review: ‘STEVE JOBS’ The idol and the narcissist.

SteveJobs-NYFF53-fullSteve Jobs posterSteve Jobs: Humanity may recognize his face quicker than any religious leader, sports icon, historical figure… even Kardashian. The world knows this man. But, do they really?  Danny Boyle‘s new film, based upon the biography by Walter Isaacson, focuses on three specific moments in the life of Jobs; the launches of the Macintosh, Next, and the iMac. You may think you know the man that inspired the internet in your pocket, but truly you have no idea.stevejobs0004

The unmistakable dialogue from Aaron Sorkin breathes life into this film. Steve Jobs takes off running right out of the gate without a moment’s rest in it’s 122 minute run time. Each of the three sequences appearing in “real time” as they play out on screen. Sorkin admitted in the press conference following the screening that he has a bit of an obsession with time itself. The pacing is unreal. You have no idea how far you are into the movie at any given time as his dialogue is lush but never verbose. The entire cast nails each beat precisely.

steve jobs michael fassbender Lisa Still

If you haven’t read Isaacson’s book, you may not have a clear picture of Jobs. While he was adored by those in the public and those closest to him, the man was no saint. Self obsessed, “my way or the highway attitude” and in total denial, each move in his career was 1000% calculated. Oftentimes, to the detriment of those personal relationships. This is another brilliant aspect that the film brings in its editing. Each of the three launches is inter-cut with a pivotal moment from the past in which a character had a confrontation with Steve. While the adoration remains, let it be known that everyone in his path at some point reached their emotional limit and let him know it. I would be remiss to ignore the look and feel of each era, including wardrobe, music, and sporadic text visuals that serve to quietly highlight it’s excellence. Michael Stuhlbarg, Michael Fassbender, Kate Winslet Steve Jobs

This cast is beyond perfection. Michael Fassbender, who admits he looks nothing like Jobs, did his actor’s due diligence studying YouTube clips of Steve. The rhythm and timbre of his voice and his physicality. Kate Winslet plays Joanna Hoffman, Job’s head of marketing and perhaps closest female friend ever, with a delicious ease. The leftover Polish accent of Hoffman is perfectly captured on Winslet’s lips. Seth Rogen is the ever forgotten genius Steve Wozniak. Rogen’s performance should not be overlooked in this year’s awards nominations. His quiet power does not go unnoticed and the scenes between he and Fassbender are spellbinding. Jeff Daniels, who perhaps has the most experience with Sorkin’s writing with his work on The Newsroom, gives us a knockout performance as Apple CEO John Sculley. Butting heads with Jobs but revealing a while boat load of truth in the process, Daniels also deserves accolades for this role. The cast is rounded out by exceptional portrayals of Crisann Brennan, Jobs’ thrown to the wind ex and mother of his first child, by Katherine Waterston. The emotional torture this woman endured is evident in each scene. Finally, Michael Stuhlbarg is Andy Hertzfeld, Mac software system designer, who often argued with Steve about his closed source software (the reason Mac is incompatible with anything other than Mac, which was probably his most calculated decision ever). Stuhlbarg, like the majority of the cast, spent time with his real life counterpart, getting to know the true ins and outs of who they were to  Steve and who they were as individual innovators. Seth Rogen Steve JobsSTEVE JOBS is both a pretty picture and a not so pretty picture of a man the world still worships. It will take you by surprise in every way possible. A triumph from start to finish, look for, at the very least, massive nominations for all involved come award season. STEVE JOBS comes to theaters in limited release Friday, October 3rd, followed by it’s nationwide release Friday, October 23rd. Stay tuned to Reel News Daily for the latest updates.

  • Directed By Danny Boyle
  • 2015
  • USA
  • DCP

Anyone going to this provocative and wildly entertaining film expecting a straight biopic of Steve Jobs is in for a shock. Working from Walter Isaacson’s biography, writer Aaron Sorkin (The Social Network, Charlie Wilson’s War) and director Danny Boyle (Slumdog Millionaire, 127 Hours) joined forces to create this dynamically character-driven portrait of the brilliant man at the epicenter of the digital revolution, weaving the multiple threads of their protagonist’s life into three daringly extended backstage scenes, as he prepares to launch the first Macintosh, the NeXT work station and the iMac. We get a dazzlingly executed cross-hatched portrait of a complex and contradictory man, set against the changing fortunes and circumstances of the home-computer industry and the ascendancy of branding, of products, and of oneself. The stellar cast includes Michael Fassbender in the title role, Kate Winslet as Joanna Hoffman, Seth Rogen as Steve Wozniak, Jeff Daniels as John Sculley, Katherine Waterston as Chrisann Brennan and Michael Stuhlbarg as Andy Hertzfeld. A Universal Pictures release.

New York Film Festival Review: ‘MICROBE & GASOLINE’ is a charming coming of age road movie.

NYFF 53 bannerMICROBE ET GASOIL-4So many of us did not fit in while we were in school. Maybe we wore clothes that were different, has religious parents, or just had quirky personalities that wouldn’t be appreciated until college. Director Michel Gondry tackles the coming of age genre with his new film MICROBE & GASOLINE. With credits like Eternal Sunshine of the Spotless Mind and The Science of Sleep, Gondry has no problem tackling the whimsy many of us enjoy while sitting in  a dark theater to escape our everyday lives. Still brimming with that very same sense of lightness, Microbe & Gasoline takes on the subject of two young boys trying to navigate insecurities and innocence… all while alone on the road in a car they build themselves.

Available to rent and buy onTuesday, September 4th with behind-the-scenes extras on We Are Colony

MICROBE ET GASOIL-7Newcomer Ange Dargent, is a true delight on screen. His natural presence is so relatable. He plays young introvert and artist, Daniel. Nicknamed ‘Microbe’ by classmates, even though he continually points out he is not the shortest boy in the class, he is constantly picked on at school. While at home, mother Marie-Thérèse (played effortlessly by the beautiful Audrey Tautou) dotes so heavily it drives him deeper into himself. Enter new kid, Théo, rambunctious, confident and perfect foil for Daniel, he is unafraid of standing up to bullies even if he not the most popular. Young actor, in only his sophomore picture, Théophile Baquet, plays Gasoline with the perfect balance of snark and charm. Buzzing onto the scene with a souped up electric bicycle and smelling of, yep, you guessed it, gasoline, he adopts our Microbe as his new project. The two discover that with a whole lot of ingenuity they can build their own car to escape struggles at home for the summer. But why stop at a car? Why not add a house on top for camouflage and living purposes. MICROBE ET GASOIL-12

Tackling subjects like confidence, sex, loss, and just plain growing up, MICROBE & GASOLINE has enough heart to compete with Gondry’s previous adult incarnations with the same issues. The dialogue is snappy, sweet, and funny. While the plot itself is not necessarily a new idea, I still believe it to be a true success. Below you can find the trailer. While for now we only have it  available in French (sans subtitles), you still get the general idea of how wonderful this film truly us. And, not to worry, there are English subtitles during the film itself.

  • Directed By Michel Gondry
  • 2015
  • France
  • French with English subtitles
  • DCP
  • 103 minutes

The new handmade-SFX comedy from Michel Gondry (Eternal Sunshine of the Spotless Mind, Be Kind Rewind) is set in an autobiographical key. Teenage misfits Microbe (Ange Dargent) and Gasoline (Théophile Baquet), one nicknamed for his size and the other for his love of all things mechanical and fuel-powered, become fast friends. Unloved in school and misunderstood at home—Microbe is overprotected, Gasoline is by turns ignored and abused—they decide to build a house on wheels (complete with a collapsible flower window box) and sputter, push, and coast their way to the camp where Gasoline went as a child, with a stop along the way to visit Microbe’s crush (Diane Besnier). Gondry’s visual imagination is prodigious, and so is his cultivation of spontaneously generated fun and off-angled lyricism, his absolute irreverence, and his emotional frankness. This is one of his freshest and loveliest films. With Audrey Tatou as Microbe’s mom.

Showtimes

SUNDAY, OCTOBER 4

12:00 PM

Buy Tickets

MONDAY, OCTOBER 5

9:00 PM

Standby Only

New York Film Festival 53 Review: ‘MIA MADRE’

NYFF 53 bannerMIA MADRE_1304Impending death of a loved one is something we’ll all face in our lifetime. Everyone deals with it on their own very personal way. In Nanni Moretti‘s new feature MIA MADRE, Margherita knows her mother is on the verge of death, but is in the kind of denial that turns her world into a tailspin. Trying to separate her professional life and her home life is not working. Relationships with her volatile American actor, her loving brother, young daughter, and her film, are all in jeopardy as she flails through feigning normalcy.MIA MADRE_1252Margherita Buy is beyond brilliant as our lead. Never a false moment or a skipped beat. her presence is perfection and the story is relatable on every level. John Turturro’s outstanding performance as over the top American actor Barry Higgins is equally captivating. His boisterous sense of importance is the perfect foil to Margherita’s slow emotional unraveling. The film’s impact is pretty massive. It will stick with you long after you leave the theater. It’s a true study in human behavior.MIA MADRE_1228jpgIn the press conference immediately following the screening, Nanni Moretti and John Turturro sat down to chat about the experience. Moretti crafted this script when his own mother became ill while he as editing one of his films and later passed away. He explained that Margherita Buy was his first choice to play the leading lady, and that he felt that it would be more interesting to play the story out through a female character. As he was writing and shooting, his catharsis also occurred in his portrayal of the character Giovanni, Margherita’s brother. “Giovanni is the character I wanted to be (in real life), but I’m not.” This quiet, grounded performance speaks volumes and is another gorgeous emotional counterbalance to Margherita.

There was a whole lot of improv on the set. I asked John if it was complicated to switch between fluent Italian and English in the same monologue stream or if that was precisely how Nanni had written the dialogue. John revealed that Nanni asked him to memorize all the lines in Italian, go back and learn them again in English, then once he had a true sense of who ,Barry Huggins was, he had the freedom to play within the languages. He admitted it was incredibly complicated. Let me assure you, it is deliciously effective.

MIA MADRE is a beautiful film. One that we, at Reel News Daily, highly recommend.

  • Directed By Nanni Moretti
  • 2015
  • Italy/France
  • Italian and English with English subtitles
  • DCP
  • 106 minutes

Margherita (Margherita Buy) is a middle-aged filmmaker who has to contend with an international co-production starring a mercurial American actor (John Turturro) and with the realization that her beloved mother (Giulia Lazzarini) is mortally ill. Underrated as an actor, director Nanni Moretti offers a fascinating portrayal as Margherita’s brother, a quietly abrasive, intelligent man with a wonderfully tamped-down generosity and warmth. The construction of the film is as simple as it is beautiful: the chaos of the movie within the movie merges with the fear of disorder and feelings of pain and loss brought about by impending death. Mia Madre is a sharp and continually surprising work about the fragility of existence that is by turns moving, hilarious, and subtly disquieting. An Alchemy release.

Showtimes

MONDAY, SEPTEMBER 28

9:15 PM

Standby Only

New York Film Festival 53 Review: ‘Ingrid Bergman- In Her Own Words’

NYFF 53 bannerIngrid Bergman In Her Own Words-1While Ingrid Bergman is undoubtedly one of the most iconic faces in film history, her personal life may be an enigma to the average movie goer. In the NYFF53 documentary, INGRID BERGMAN IN HER OWN WORDS, filmmaker Stig Björkman brings her world to life with diary entries, intimate sit down interviews with her children, letters to close confidants, and home movies shot by Bergman herself.Ingrid Bergman In Her Own Words-2

Bergman kept a diary starting at a very early age, chronicling her thoughts and dreams. Oftentimes, revealing her innermost fears and personal downfalls, what is perhaps the most surprising is just how beautiful her words are on each page. The way she writes is almost poetic, incredibly articulate and profound. Bergman admits she was no saint when it came to the men in her life but was never ashamed of her love affairs outside of marriages. The love for her children was always evident. Interestingly enough, once her first affair became public knowledge, it was the US that was most personally offended. Early versions of the main stream media we have come to love and hate today, labeled her a woman to be boycotted. This was the catalyst for Bergman’s departure from the US, moving from country to country, transforming in her personal and professional life as the years rolled by. Even in the ever changing landscape, Ingrid’s talent and joy for life never waned.Ingrid Bergman In Her Own Words-5

What I found to be most interesting about this film is just how charming Bergman was. If you take a step back from her actions as a parent and wife, your initial reaction may be to judge her, yet somehow all is forgiven. There is definitely something to be explored in her relationship with both her father and the camera itself. It is the precursor to almost every life choice she made. Stig Björkman does an amazing job stitching together memories and exploring the effect she had on all who came in contact with her. INGRID BERGMAN IN HER OWN WORDS in a must see.

  • Directed By Stig Björkman
  • 2015
  • Sweden
  • Swedish and English with English subtitles
  • DCP
  • 114 minutes

This is a lovingly crafted film about one of the cinema’s most luminous and enchanting presences, composed from her letters and diaries (extracts of which are read by Alicia Vikander), the memories of her children (Pia Lindström and Isabella, Ingrid, and Roberto Rossellini), and a few close friends and colleagues (including Liv Ullmann and Sigourney Weaver), photographs, and moments from thousands of feet of Super-8 and 16mm footage shot by Bergman herself throughout the years. Stig Björkman’s focus is not on Bergman the star but on Bergman the woman and mother: orphaned at 13, drawn to acting on the stage and then on film, sailing for Hollywood at 24 and then leaving it all behind for a new and different life with Roberto Rossellini. Ingrid Bergman in Her Own Words is, finally, a self-portrait of a truly independent woman. A Rialto Pictures release.

Showtimes

MONDAY, OCTOBER 5

6:00 PM

Buy Tickets

TUESDAY, OCTOBER 6

8:30 PM

Standby Only

Watch Tom Hanks in new trailer for Stephen Spielberg’s ‘Bridge of Spies’ – debuting at New York Film Festival in theaters October 16th

Bridge of Spies poster

ST. JAMES PLACEThe new trailer from DreamWorks Pictures/Fox 2000 Pictures’ dramatic thriller “Bridge of Spies” is now available. The story of a Brooklyn lawyer who finds himself thrust into the center of the Cold War when the CIA sends him on the near-impossible task to negotiate the release of a captured American U-2 pilot, “Bridge of Spies” is directed by Steven Spielberg and stars Tom Hanks. The film opens in U.S. theaters nationwide on October 16, 2015.  Please feel free to share with your readers.

New York Film Festival Announces Main Slate – ‘Bridge of Spies’ ‘Carol’ & ‘Maggie’s Place’

NYFF 53 bannerAdditional NYFF special events, documentary section, and filmmaker conversations and panels, as well as NYFF’s Projections and the full Convergence programs, will be announced in subsequent days and weeks.

The 17-day New York Film Festival highlights the best in world cinema, featuring top films from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Jones, also includes Dennis Lim, FSLC Director of Programming; Marian Masone, FSLC Senior Programming Advisor; Gavin Smith, Editor-in-Chief, Film Comment; and Amy Taubin, Contributing Editor, Film Comment and Sight & Sound.

Tickets for the 53rd New York Film Festival will go on sale to Film Society patrons at the end of August, ahead of the General Public. Learn more about the patron program at filmlinc.org/patrons. Becoming a Film Society Member offers the exclusive member ticket discount to the New York Film Festival and Film Society programming year-round plus other great benefits. Current members at the Film Buff Level or above enjoy early ticket access to NYFF screenings and events ahead of the general public. Learn more at filmlinc.org/membership.

For even more access, VIP Passes and Subscription Packages give buyers one of the earliest opportunities to purchase tickets and secure seats at some of the festival’s biggest events including Opening, Centerpiece, and Closing Nights. VIP passes also provide access to many exciting events including the invitation-only Opening Night party, “ An Evening With…” Dinner, Filmmaker Brunch, and VIP Lounge. Benefits vary based on the pass or package type purchased. A limited number of VIP Passes and Subscription Packages are still available. For information about purchasing Subscription Packages and VIP Passes, go to filmlinc.org/NYFF.

Films & Descriptions

The Walk NYFF 53Opening Night
The Walk
Robert Zemeckis, USA, 2015, 3-D DCP, 100m
Robert Zemeckis’s magical and enthralling new film, the story of Philippe Petit (winningly played by Joseph Gordon-Levitt) and his walk between the World Trade Center’s Twin Towers, plays like a heist movie in the grand tradition of Rififi and Bob le flambeur. Zemeckis takes us through every detail—the stakeouts, the acquisition of equipment, the elaborate planning and rehearsing that it took to get Petit, his crew of raucous cohorts, and hundreds of pounds of rigging to the top of what was then the world’s tallest building. When Petit steps out on his wire, The Walk, a technical marvel and perfect 3-D re-creation of Lower Manhattan in the 1970s, shifts into another heart-stopping gear, and Zemeckis and his hero transport us into pure sublimity. With Ben Kingsley as Petit’s mentor. A Sony Pictures release. World Premiere
SteveJobs-NYFF53-fullCenterpiece

Steve Jobs
Danny Boyle, USA, 2015, DCP, TBC
Anyone going to this provocative and wildly entertaining film expecting a straight biopic of Steve Jobs is in for a shock. Working from Walter Isaacson’s biography, writer Aaron Sorkin (The Social Network, Charlie Wilson’s War) and director Danny Boyle (Slumdog Millionaire, 127 Hours) joined forces to create this dynamically character-driven portrait of the brilliant man at the epicenter of the digital revolution, weaving the multiple threads of their protagonist’s life into three daringly extended backstage scenes, as he prepares to launch the first Macintosh, the NeXT work station and the iMac. We get a dazzlingly executed cross-hatched portrait of a complex and contradictory man, set against the changing fortunes and circumstances of the home-computer industry and the ascendancy of branding, of products, and of oneself. The stellar cast includes Michael Fassbender in the title role, Kate Winslet as Joanna Hoffman, Seth Rogen as Steve Wozniak, Jeff Daniels as John Sculley, Katherine Waterston as Chrisann Brennan and Michael Stuhlbarg as Andy Hertzfeld. A Universal Pictures release.

Miles Ahead poster NYFF53Closing Night
Miles Ahead
Don Cheadle, USA, 2015, DCP, 100m
Miles Davis was one of the greatest artists of the 20th century. And how do you make a movie about him? You get to know the man inside and out and then you reveal him in full, which is exactly what Don Cheadle does as a director, a writer, and an actor with this remarkable portrait of Davis, refracted through his crazy days in the late-70s. Holed up in his Manhattan apartment, wracked with pain from a variety of ailments and sweating for the next check from his record company, dodging sycophants and industry executives, he is haunted by memories of old glories and humiliations and of his years with his great love Frances Taylor (Emayatzy Corinealdi). Every second of Cheadle’s cinematic mosaic is passionately engaged with its subject: this is, truly, one of the finest films ever made about the life of an artist. With Ewan McGregor as Dave Brill, the “reporter” who cons his way into Miles’ apartment. A Sony Pictures Classics release. World Premiere

Arabian Nights: Volume 1, The Restless One
Miguel Gomes, Portugal/France/Germany/Switzerland, 2015, DCP, 125m
Portuguese with English subtitles
An up-to-the minute rethinking of what it means to make a political film today, Miguel Gomes’s shape-shifting paean to the art of storytelling strives for what its opening titles call “a fictional form from facts.” Working for a full year with a team of journalists who sent dispatches from all over the country during Portugal’s recent plunge into austerity, Gomes (Tabu, NYFF50) turns actual events into the stuff of fable, and channels it all through the mellifluous voice of Scheherazade (Crista Alfaiate), the mythic queen of the classic folktale. Volume 1 alone tries on more narrative devices than most filmmakers attempt in a lifetime, mingling documentary material about unemployment and local elections with visions of exploding whales and talking cockerels. It is hard to imagine a more generous or radical approach to these troubled times, one that honors its fantasy life as fully as its hard realities. A Kino Lorber release. U.S. Premiere

Arabian Nights: Volume 2, The Desolate One
Miguel Gomes, Portugal/France/Germany/Switzerland, 2015, DCP, 131m
Portuguese with English subtitles
In keeping with its subtitle, the middle section of Miguel Gomes’s monumental yet light-footed magnum opus shifts into a more subdued and melancholic register. But within each of these three tales, framed as the wild imaginings of the Arabian queen Scheherazade and adapted from recent real-life events in Portugal, there are surprises and digressions aplenty. In the first, a deadpan neo-Western of sorts, an escaped murderer becomes a local hero for dodging the authorities. The second deals with the theft of 13 cows, as told through a Brechtian open-air courtroom drama in which the testimonies become increasingly absurd. Finally, a Maltese poodle shuttles between various owners in a tear-jerking collective portrait of a tower block’s morose residents. Attesting to the power of fiction to generate its own reality, the film treats its fantasy dimension as a license for directness, a path to a more meaningful truth. A Kino Lorber release. U.S. Premiere

Arabian Nights: Volume 3, The Enchanted One
Miguel Gomes, Portugal/France/Germany/Switzerland, 2015, DCP, 125m
Portuguese with English subtitles
Miguel Gomes’s sui generis epic concludes with arguably its most eccentric—and most enthralling—installment. Scheherazade escapes the king for an interlude of freedom in Old Baghdad, envisioned here as a sunny Mediterranean archipelago complete with hippies and break-dancers. After her eventual return to her palatial confines comes the most lovingly protracted of all the stories in Arabian Nights, a documentary chronicle of Lisbon-area bird trappers preparing their prized finches for birdsong competitions. Right to the end, Gomes’s film balances the leisurely art of the tall tale with a sense of deadline urgency—a reminder that for Scheherazade, and perhaps for us all, stories can be a matter of life and death. A Kino Lorber release. U.S. Premiere

The Assassin
Hou Hsiao-hsien, Taiwan/China/Hong Kong, 2015, DCP, 105m
Mandarin with English subtitles
A wuxia like no other, The Assassin is set in the waning years of the Tang Dynasty when provincial rulers are challenging the power of royal court. Nie Yinniang (Shu Qi), who was exiled as a child so that her betrothed could make a more politically advantageous match, has been trained as an assassin for hire. Her mission is to destroy her former financé (Chang Chen). But worry not about the plot, which is as old as the jagged mountains and deep forests that bear witness to the cycles of power and as elusive as the mists that surround them. Hou’s art is in the telling. The film is immersive and ephemeral, sensuous and spare, and as gloriously beautiful in its candle-lit sumptuous red and gold decor as Hou’s 1998 masterpiece,Flowers of Shanghai. As for the fight scenes, they’re over almost before you realize they’ve happened, but they will stay in your mind’s eye forever. A Well Go USA release. U.S. Premiere

Bridge of Spies
Steven Spielberg, USA, 2015, DCP, 135m
The “bridge of spies” of the title refers to Glienicke Bridge, which crosses what was once the borderline between the Federal Republic of Germany and the GDR. In the time from the building of the Berlin Wall to its destruction in 1989, there were three prisoner exchanges between East and West. The first and most famous spy swap occurred on February 10, 1962, when Soviet agent Rudolph Abel was traded for American pilot Francis Gary Powers, captured by the Soviets when his U-2 reconnaissance plane was shot down over Sverdlovsk. The exchange was negotiated by Abel’s lawyer, James B. Donovan, who also arranged for the simultaneous release of American student Frederic Pryor at Checkpoint Charlie. Working from a script by Matt Charman and Joel and Ethan Coen, Steven Spielberg has brought every strange turn in this complex Cold War story to vividly tactile life. With a brilliant cast, headed by Tom Hanks as Donovan and Mark Rylance as Abel—two men who strike up an improbable friendship based on a shared belief in public service. A Touchstone Pictures release.World Premiere

Brooklyn
John Crowley, UK/Ireland/Canada, 2015, 35mm/DCP, 112m
In the middle of the last century, Eilis (Saoirse Ronan) takes the boat from Ireland to America in search of a better life. She endures the loneliness of the exile, boarding with an insular and catty collection of Irish girls in Brooklyn. Gradually, her American dream materializes: she studies bookkeeping and meets a handsome, sweet Italian boy (Emory Cohen). But then bad news brings her back home, where she finds a good job and another handsome boy (Domhnall Gleeson), this time from a prosperous family. On which side of the Atlantic does Eilis’s future live, and with whom? Director John Crowley (Boy A) and writer Nick Hornby haven’t just fashioned a great adaptation of Colm Tóibín’s novel, but a beautiful movie, a sensitively textured re-creation of the look and emotional climate of mid-century America and Ireland, with Ronan, as quietly and vibrantly alive as a silent-screen heroine, at its heart. A Fox Searchlight Pictures release.

Carol
Todd Haynes, USA, 2015, DCP, 118m
Todd Haynes’s adaptation of Patricia Highsmith’s debut novel stars Cate Blanchett as the titular Carol, a wealthy suburban wife and mother, and Rooney Mara as an aspiring photographer who meet by chance, fall in love almost at first sight, and defy the closet of the early 1950s to be together. Working with his longtime cinematographer Ed Lachman and shooting on the Super-16 film he favors for the way it echoes the movie history of 20th-century America, Haynes charts subtle shifts of power and desire in images that are alternately luminous and oppressive. Blanchett and Mara are both splendid; the erotic connection between their characters is palpable from beginning to end, as much in its repression as in eagerly claimed moments of expressive freedom. Originally published under a pseudonym, Carol is Highsmith’s most affirmative work; Haynes has more than done justice to the multilayered emotions evoked by it source material. A Weinstein Company release.

Cemetery of Splendour
Apichatpong Weerasethakul, Thailand/UK/France/Germany/Malaysia, 2015, DCP, 122m
Thai with English subtitles
The wondrous new film by Thai director Apichatpong Weerasethakul (whose last feature, Uncle Boonmee Who Can Recall His Past Lives, was a Palme d’Or winner and a NYFF48 selection) is set in and around a hospital ward full of comatose soldiers. Attached to glowing dream machines, and tended to by a kindly volunteer (Jenjira Pongpas Widner) and a young clairvoyant (Jarinpattra Rueangram), the men are said to be waging war in their sleep on behalf of long-dead feuding kings, and their mysterious slumber provides the rich central metaphor: sleep as safe haven, as escape mechanism, as ignorance, as bliss. To slyer and sharper effect than ever, Apichatpong merges supernatural phenomena with Thailand’s historical phantoms and national traumas. Even more seamlessly than his previous films, this sun-dappled reverie induces a sensation of lucid dreaming, conjuring a haunted world where memory and myth intrude on physical space. A Strand Releasing release. U.S. Premiere

Les Cowboys
Thomas Bidegain, 2015, France, DCP, 114m
French and English with English subtitles
Country and Western enthusiast Alain (François Damiens) is enjoying an outdoor gathering of fellow devotees with his wife and teenage children when his daughter abruptly vanishes. Learning that she’s eloped with her Muslim boyfriend, he embarks on increasingly obsessive quest to track her down. As the years pass and the trail grows cold, Alain sacrifices everything, while drafting his son into his efforts. The echoes of The Searchers are unmistakable, but the story departs from John Ford’s film in unexpected ways, escaping its confining European milieu as the pursuit assumes near-epic proportions in post-9/11 Afghanistan. This muscular debut, worthy of director Thomas Bidegain’s screenwriting collaborations with Jacques Audiard, yields a sweeping vision of a world in which the codes of the Old West no longer seem to hold. A Cohen Media Group release. U.S. Premiere

Don’t Blink: Robert Frank
Laura Israel, USA/Canada, 2015, DCP, 82m
The life and work of Robert Frank—as a photographer and a filmmaker—are so intertwined that they’re one in the same, and the vast amount of territory he’s covered, from The Americans in 1958 up to the present, is intimately registered in his now-formidable body of artistic gestures. From the early ’90s on, Frank has been making his films and videos with the brilliant editor Laura Israel, who has helped him to keep things homemade and preserve the illuminating spark of first contact between camera and people/places. Don’t Blink is Israel’s like-minded portrait of her friend and collaborator, a lively rummage sale of images and sounds and recollected passages and unfathomable losses and friendships that leaves us a fast and fleeting imprint of the life of the Swiss-born man who reinvented himself the American way, and is still standing on ground of his own making at the age of 90. World Premiere

Experimenter
Michael Almereyda, USA, 2014, DCP, 94m
Michael Almereyda’s brilliant portrait of Stanley Milgram, the social scientist whose 1961, Yale-based “obedience study” reflected back on the Holocaust and anticipated Abu Ghraib and other atrocities carried out by ordinary people who were just following orders, places its subject in an appropriately experimental cinema framework. The proverbial elephant in the room materializes on screen; Milgram (Peter Sarsgaard) sometimes addresses the camera directly as if to implicate us in his studies and the unpleasant truths they reveal. Remarkably, the film evokes great compassion for this uncompromising, difficult man, in part because we often see him through the eyes of his wife (Winona Ryder, in a wonderfully grounded performance), who fully believed in his work and its profoundly moral purpose. Almereyda creates the bohemian-tinged academic world of the 1960s through the 1980s with an economy that Stanley Kubrick might have envied. A Magnolia Pictures release.

The Forbidden Room
Guy Maddin & Evan Johnson, Canada, 2015, DCP, 120m
The four-man crew of a submarine are trapped underwater, running out of air. A classic scenario of claustrophobic suspense—at least until a hatch opens and out steps… a lumberjack? As this newcomer’s backstory unfolds (and unfolds and unfolds in over a dozen outlandish tales), Guy Maddin, cinema’s reigning master of feverish filmic fetishism, embarks on a phantasmagoric narrative adventure of stories within stories within dreams within flashbacks in a delirious globe-trotting mise en abyme the equals of any by the late Raúl Ruiz. Collaborating with poet John Ashbery and featuring sublime contributions from the likes of Jacques Nolot, Charlotte Rampling, Mathieu Amalric, legendary cult electro-pop duo Sparks, and not forgetting muses Louis Negin and Udo Kier, Maddin dives deeper than ever: only the lovechild of Josef von Sternberg and Jack Smith could be responsible for this insane magnum opus. A Kino Lorber release.

In the Shadow of Women / L’Ombre des femmes
Philippe Garrel, France, 2015, DCP, 73m
French with English subtitles
The new film by the great Philippe Garrel (previously seen at the NYFF with Regular Lovers in 2005 and Jealousy in 2013) is a close look at infidelity—not merely the fact of it, but the particular, divergent ways in which it’s experienced and understood by men and women. Stanislas Merhar and Clotilde Courau are Pierre and Manon, a married couple working in fragile harmony on Pierre’s documentary film projects, the latest of which is a portrait of a resistance fighter (Jean Pommier). When Pierre takes a lover (Lena Paugam), he feels entitled to do so, and he treats both wife and mistress with disengagement bordering on disdain; when Manon catches Pierre in the act, her immediate response is to find common ground with her husband. Garrel is an artist of intimacies and emotional ecologies, and with In the Shadow of Women he has added narrative intricacy and intrigue to his toolbox. The result is an exquisite jewel of a film. U.S. Premiere

Journey to the Shore / Kishibe no tabi
Kiyoshi Kurosawa, Japan/France, 2015, DCP, 127m
Japanese with English subtitles
Based on Kazumi Yumoto’s 2010 novel, Kiyoshi Kurosawa’s latest film begins with a young widow named Mizuki (Eri Fukatsu), who has been emotionally flattened and muted by the disappearance of her husband Yusuke (Tadanobu Asano). One day, from out of the blue or the black, Yusuke’s ghost drops in, more like an exhausted and unexpected guest than a wandering spirit. And then Journey to the Shore becomes a road movie: Mizuki and Yusuke pack their bags, leave Tokyo, and travel by train through parts of Japan that we rarely see in movies, acclimating themselves to their new circumstances and stopping for extended stays with friends and fellow pilgrims that Yusuke has met on his way through the afterworld, some living and some dead. The particular beauty of Journey to the Shore lies in its flowing sense of life as balance between work and love, existence and nonexistence, you and me. U.S. Premiere

The Lobster
Yorgos Lanthimos, France/Netherlands/Greece/UK, 2015, DCP, 118m
In the very near future, society demands that we live as couples. Single people are rounded up and sent to a seaside compound—part resort and part minimum-security prison—where they are given a finite number of days to find a match. If they don’t succeed, they will be “altered” and turned into an animal. The recently divorced David (Colin Farrell) arrives at The Hotel with his brother, now a dog; in the event of failure, David has chosen to become a lobster… because they live so long. When David falls in love, he’s up against a new set of rules established by another, rebellious order: for romantics, there’s nowhere to run, nowhere to hide. Welcome to the latest dark, dark comedy from Yorgos Lanthimos (Dogtooth), creator of absurdist societies not so very different from our own. With Léa Seydoux as the leader of the Loners, Rachel Weisz as David’s true love, John C. Reilly, and Ben Whishaw. An Alchemy release.

Maggie’s Plan
Rebecca Miller, USA, 2015, DCP, 92m
Rebecca Miller’s new film is as wise, funny, and suspenseful as a Jane Austen novel. Greta Gerwig shines brightly in the role of Maggie, a New School administrator on the verge of completing her life plan with a donor-fathered baby when she meets John (Ethan Hawke), a soulful but unfulfilled adjunct professor. John is unhappily married to a Columbia-tenured academic superstar wound tighter than a coiled spring (Julianne Moore). Maggie and the professor commiserate, share confidences, and fall in love. And where most contemporary romantic comedies end, Miller’s film is just getting started. In the tradition of Woody Allen and Paul Mazursky, Miller approaches the genre of the New York romantic comedy with relish and loving energy. With Bill Hader and Maya Rudolph as Maggie’s married-with-children friends, drawn to defensive sarcasm like moths to a flame, and Travis Fimmel as Maggie’s donor-in-waiting. U.S. Premiere

The Measure of a Man / La Loi du marché
Stéphane Brizé, France, 2015, DCP, 93m
French with English subtitles
Vincent Lindon gives his finest performance to date as unemployed everyman Thierry, who must submit to a series of quietly humiliating ordeals in his search for work. Futile retraining courses that lead to dead ends, interviews via Skype, an interview-coaching workshop critique of his self-presentation by fellow jobseekers—all are mechanisms that seek to break him down and strip him of identity and self-respect in the name of reengineering of a workforce fit for an neoliberal technocratic system. Nothing if not determinist, Stéphane Brizé’s film dispassionately monitors the progress of its stoic protagonist until at last he lands a job on the front line in the surveillance and control of his fellow man—and finally faces one too many moral dilemmas. A powerful and deeply troubling vision of the realities of our new economic order. A Kino Lorber release. North American Premiere

Mia Madre
Nanni Moretti, Italy/France, 2015, DCP, 106m
Italian and English with English subtitles
Margherita (Margherita Buy) is a middle-aged filmmaker contending with shooting an international co-production with a mercurial American actor (John Turturro) and with the fact that her beloved mother (Giulia Lazzarini) is mortally ill. Underrated as an actor, director Nanni Moretti, offers a fascinating portrayal as Margherita’s brother, a quietly abrasive, intelligent man with a wonderfully tamped-down generosity and warmth. The construction of the film is as simple as it is beautiful: the chaos of the movie within the movie merges with the fear of disorder and feelings of pain and loss brought about by impending death. Mia Madre is a sharp and continually surprising work about the fragility of existence that is by turns moving, hilarious, and subtly disquieting. An Alchemy release. U.S. Premiere

Microbe & Gasoline / Microbe et Gasoil
Michel Gondry, France, 2015, DCP, 103m
French with English subtitles
The new handmade-SFX comedy from Michel Gondry (Eternal Sunshine of the Spotless Mind, Be Kind Rewind) is set in an autobiographical key. Teenage misfits Microbe (Ange Dargent) and Gasoline (Théophile Baquet), one nicknamed for his size and the other for his love of all things mechanical and fuel-powered, become fast friends. Unloved in school and misunderstood at home—Microbe is overprotected, Gasoline is by turns ignored and abused—they decide to build a house on wheels (complete with a collapsible flower window box) and sputter, push, and coast their way to the camp where Gasoline went as a child, with a stop along the way to visit Microbe’s crush (Diane Besnier). Gondry’s visual imagination is prodigious, and so is his cultivation of spontaneously generated fun and off-angled lyricism, his absolute irreverence, and his emotional frankness. This is one of his freshest and loveliest films. With Audrey Tatou as Microbe’s mom. U.S. Premiere

Mountains May Depart
Jia Zhangke, China/France/Japan, 2015, DCP, 131m
Mandarin and English with English subtitles
The plot of Jia Zhangke’s new film is simplicity itself. Fenyang 1999, on the cusp of the capitalist explosion in China. Shen Tao (Zhao Tao) has two suitors—Zhang (Zhang Yi), an entrepreneur-to-be, and his best friend Liangzi (Liang Jin Dong), who makes his living in the local coal mine. Shen Tao decides, with a note of regret, to marry Zhang, a man with a future. Flash-forward 15 years: the couple’s son Dollar is paying a visit to his now-estranged mother, and everyone and everything seems to have grown more distant in time and space… and then further ahead in time, to even greater distances. Jia is modern cinema’s greatest poet of drift and the uncanny, slow-motion feeling of massive and inexorable change. Like his 2013 A Touch of Sin, Mountains May Depart is an epically scaled canvas. But where the former was angry and quietly terrifying, the latter is a heartbreaking prayer for the restoration of what has been lost in the name of progress. A Kino Lorber release. U.S. Premiere

My Golden Days / Trois Souvenirs de ma jeunesse
Arnaud Desplechin, France, 2015, DCP, 123m
French with English subtitles
Arnaud Desplechin’s alternately hilarious and heartrending latest work is intimate yet expansive, a true autobiographical epic. Mathieu Amalric—Jean-Pierre Léaud to Desplechin’s François Truffaut—reprises the character of Paul Dédalus from the director’s groundbreaking My Sex Life… or How I Got Into an Argument (NYFF, 1996), now looking back on the mystery of his own identity from the lofty vantage point of middle age. Desplechin visits three varied but interlocking episodes in his hero’s life, each more surprising and richly textured than the next, and at the core of his film is the romance between the adolescent Paul (Quentin Dolmaire) and Esther (Lou Roy-Lecollinet). Most directors trivialize young love by slotting it into a clichéd category, but here it is ennobled and alive in all of its heartbreak, terror, and beauty. Le Monderecently referred to Desplechin as “the most Shakespearean of filmmakers,” and boy, did they ever get that right. My Golden Days is a wonder to behold. A Magnolia Pictures release. North American Premiere

No Home Movie
Chantal Akerman, Belgium/France, 2015, DCP, 115m
French and English with English subtitles
At the center of Chantal Akerman’s enormous body of work is her mother, a Holocaust survivor who married and raised a family in Brussels. In recent years, the filmmaker has explicitly depicted, in videos, books, and installation works, her mother’s life and her own intense connection to her mother, and in turn her mother’s connection to her mother. No Home Movie is a portrait by Akerman, the daughter, of Akerman, the mother, in the last years of her life. It is an extremely intimate film but also one of great formal precision and beauty, one of the rare works of art that is both personal and universal, and as much a masterpiece as her 1975 career-defining Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles.U.S. Premiere

Right Now, Wrong Then
Hong Sangsoo, South Korea, 2015, DCP, 121m
Korean with English subtitles
Ham Chunsu (Jung Jaeyoung) is an art-film director who has come to Suwon for a screening of one of his movies. He meets Yoon Heejung (Kim Minhee), a fledgling artist. She’s never seen any of his films but knows he’s famous; he’d like to see her paintings and then go for sushi and soju. Every word, every pause, every facial expression and every movement, is a negotiation between revelation and concealment: too far over the line for Chunsu and he’s suddenly a middle-aged man on the prowl who uses insights as tools of seduction; too far for Heejung and she’s suddenly acquiescing to a man who’s leaving the next day. So they walk the fine line all the way to a tough and mordantly funny end point, at which time… we begin again, but now with different emotional dynamics. Hong Sangsoo, represented many times in the NYFF, achieves a maximum of layered nuance with a minimum of people, places, and incidents. He is, truly, a master. U.S. Premiere

The Treasure / Comoara
Corneliu Porumboiu, Romania, 2015, DCP, 89m
Romanian with English subtitles
Costi (Cuzin Toma) leads a fairly quiet, unremarkable life with his wife and son. He’s a good provider, but he struggles to make ends meet. One evening there’s a knock at the door. It’s a stranger, a neighbor named Adrian (Adrian Purcarescu), with a business proposal: lend him some money to find a buried treasure in his grandparents’ backyard and they’ll split the proceeds. Is it a scam or a real treasure hunt? Corneliu Porumboiu’s (When Evening Falls on Bucharest or Metabolism, NYFF 2013) modern-day fable starts like an old Honeymooners episode with a get-rich-quick premise, gradually develops into a shaggy slapstick comedy, shifts gears into a hilariously dry delineation of the multiple layers of pure bureaucracy and paperwork drudgery, and ends in a new and altogether surprising key. Porumboiu is one of the subtlest artists in movies, and this is one of his wryest films, and his most magical.

Where To Invade Next
Michael Moore, USA, 2015, DCP, 110m
Where are we, as Americans? Where are we going as a country? And is it where we want to go, or where we think we haveto go? Since Roger & Me in 1989, Michael Moore has been examining these questions and coming up with answers that are several worlds away from the ones we are used to seeing and hearing and reading in mainstream media, or from our elected officials. In his previous films, Moore has taken on one issue at a time, from the hemorrhaging of American jobs to the response to 9/11 to the precariousness of our healthcare system. In his new film, he shifts his focus to the whole shebang and ponders the current state of the nation from a very different perspective: that is, from the outside looking in. Where To Invade Next is provocative, very funny, and impassioned—just like all of Moore’s work. But it’s also pretty surprising. U.S. Premiere

ABOUT FILM SOCIETY OF LINCOLN CENTER
Founded in 1969 to celebrate American and international cinema, the Film Society of Lincoln Center works to recognize established and emerging filmmakers, support important new work, and to enhance the awareness, accessibility, and understanding of the moving image. The Film Society produces the renowned New York Film Festival, a curated selection of the year’s most significant new film work, and presents or collaborates on other annual New York City festivals including Dance on Camera, Film Comment Selects, Human Rights Watch Film Festival, New Directors/New Films, New York African Film Festival, New York Asian Film Festival, New York Jewish Film Festival, Open Roads: New Italian Cinema and Rendez-Vous with French Cinema. In addition to publishing the award-winning Film Comment magazine, the Film Society recognizes an artist’s unique achievement in film with the prestigious Chaplin Award, whose 2015 recipient is Robert Redford. The Film Society’s state-of-the-art Walter Reade Theater and the Elinor Bunin Munroe Film Center, located at Lincoln Center, provide a home for year-round programs and the New York City film community.

The Film Society receives generous, year-round support from American Airlines, The New York Times, Stella Artois, HBO, The Kobal Collection, Variety, Row NYC Hotel, the National Endowment for the Arts, and the New York State Council on the Arts.

Support for the New York Film Festival is also generously provided by Jaeger-LeCoultre, FIJI Water, KIND Bars, Portage World Wide Inc., WABC-7, and WNET New York Public Media.

Don Cheadle’s directorial debut ‘Miles Ahead’ to close the 53rd New York Film Festival

Miles Ahead poster NYFF53

The Film Society of Lincoln Center announced today that Don Cheadle’s directorial debut Miles Ahead will make its World Premiere as the Closing Night selection of the upcoming 53rd New York Film Festival (September 25 – October 11). Cheadle, who co-wrote the script, stars as the legendary musician opposite Emayatzy Corinealdi and Ewan McGregor.

NYFF 53 bannerNew York Film Festival Director and Selection Committee Chair Kent Jones said: “I admire Don’s film because of all the intelligent decisions he’s made about how to deal with Miles, but I was moved—deeply moved—by Miles Ahead for other reasons. Don knows, as an actor, a writer, a director, and a lover of Miles’ music, that intelligent decisions and well-planned strategies only get you so far, that finally it’s your own commitment and attention to every moment and every detail that brings a movie to life. ‘There is no longer much else but ourselves, in the place given us,’ wrote the poet Robert Creeley. ‘To make that present, and actual … is not an embarrassment, but love.’ That’s the core of art. Miles Davis knew it, and Don Cheadle knows it.”

Don Cheadle added: “I am happy that the selection committee saw fit to invite us to the dance. It’s very gratifying that all the hard work that went into the making of this film, from every person on the team, has brought us here. Miles’ music is all-encompassing, forward-leaning, and expansive. He changed the game time after time, and New York is really where it all took off for him. Alice Tully Hall, Lincoln Center… feels very ‘right place, right time.’ Very exciting.”

Miles Davis was one of the greatest artists of the 20th century. And how do you make a movie about him? You get to know the man inside and out and then you reveal him in full, which is exactly what Don Cheadle does as a director, a writer, and an actor with this remarkable portrait of Davis, refracted through his crazy days in the late-70s. Holed up in his Manhattan apartment, wracked with pain from a variety of ailments and fiending for the next check from his record company, dodging sycophants and industry executives, he is haunted by memories of old glories and humiliations and of his years with his great love Frances Taylor (Emayatzy Corinealdi). Every second of Cheadle’s cinematic mosaic is passionately engaged with its subject: this is, truly, one of the finest films ever made about the life of an artist. With Ewan McGregor as Dave Brill, the “reporter” who cons his way into Miles’ apartment. The film was produced by Don Cheadle, Pamela Hirsch, Lenore Zerman. Along with Daniel Wagner, Robert Barnum, Vince Willburn and Daryl Porter.

The 17-day New York Film Festival highlights the best in world cinema, featuring top films from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Jones, also includes Dennis Lim, FSLC Director of Programming; Marian Masone, FSLC Senior Programming Advisor; Gavin Smith, Editor-in-Chief, Film Comment; and Amy Taubin, Contributing Editor, Film Comment and Sight & Sound.

The Walk NYFF 53NYFF previously announced Robert Zemeckis’s The Walk as the Opening Night selection and Luminous Intimacy: The Cinema of Nathaniel Dorsky and Jerome Hiler, the first-ever complete dual retrospective of the experimental filmmakers.

Tickets for the 53rd New York Film Festival will go on sale in early September. Becoming a Film Society Member at the Film Buff Level or above provides early ticket access to festival screenings and events ahead of the general public, along with the exclusive member ticket discount! To find out how to become a Film Society member, visit filmlinc.com/membership.

For even more access, VIP Passes and Subscription Packages give buyers one of the earliest opportunities to purchase tickets and secure seats at some of the festival’s biggest events including Opening, Centerpiece, and Closing Nights. VIP passes also provide access to many exciting events including the invitation-only Opening Night party, “ An Evening With…” Dinner, Filmmaker Brunch, and VIP Lounge. Benefits vary based on the pass or package type purchased. VIP Passes and Subscription Packages are on sale now.  For information about purchasing Subscription Packages and VIP Passes, go to filmlinc.com/NYFF.

‘The Walk’ starring Joseph Gordon-Levitt, directed by Robert Zemekis to open the New York Film Festival this September

NYFF 53 banner

The Walk NYFF 53

The Film Society of Lincoln Center announced today that Robert Zemeckis’s The Walk will make its World Premiere as the Opening Night selection of the upcoming 53rd New York Film Festival (September 25 – October 11), which will kick off at Alice Tully Hall. A true story, the film is based on Philippe Petit’s memoir To Reach the Clouds and stars Golden Globe nominee Joseph Gordon-Levitt as Petit, the French high-wire artist who achieved the feat of walking between the Twin Towers in 1974. The Walk will be the second 3D feature selected for the Opening Night Gala since Ang Lee’s Life of Pi in 2012 and also marks Zemeckis’s return to the Festival afterFlight, the 2012 Closing Night Gala selection. Today’s announcement coincides with the release of the film’s trailer, which can be viewed at movies.yahoo.com. The film will be released in 3D and IMAX 3D on October 2, 2015.

New York Film Festival Director and Selection Committee Chair Kent Jones said: “The Walk is surprising in so many ways. First of all, it plays like a classic heist movie in the tradition of The Asphalt Jungle or Bob le flambeur—the planning, the rehearsing, the execution, the last-minute problems—but here it’s not money that’s stolen but access to the world’s tallest buildings. It’s also an astonishing re-creation of Lower Manhattan in the ’70s. And then, it becomes something quite rare, rich, mysterious… and throughout it all, you’re on the edge of your seat.”

Robert Zemeckis added: “I am extremely honored and grateful that our film has been selected to open the 53rd New York Film Festival. The Walk is a New York story, so I am delighted to be presenting the film to New York audiences first. My hope is that Festival audiences will be immersed in the spectacle, but also to be enraptured by the celebration of a passionate artist who helped give the wonderful towers a soul.”

Sony Pictures Entertainment Motion Picture Group Chairman Tom Rothman said: “On behalf of TriStar and Sony, I want to thank Kent and the NYFF for this great honor. The Walk is a love letter to the Twin Towers, which through the unique magic of cinema, come back to vibrant, inspiring life. But it is also a universal story of the determined pursuit of impossible dreams, told by one of our greatest living filmmakers, and the NYFF has always been a place where such dreams come true.”

The film also stars Academy Award® winner Ben Kingsley, James Badge Dale, Ben Schwartz, Steve Valentine, Charlotte Le Bon, Clement Sibony, Caesar Domboy and Benedict Samuel. Directed by Zemeckis, the screenplay is by Robert Zemeckis & Christopher Browne, based on the book To Reach the Clouds by Philippe Petit, and produced by Steve Starkey, Robert Zemeckis, and Jack Rapke.

The 17-day New York Film Festival highlights the best in world cinema, featuring top films from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Jones, also includes Dennis Lim, FSLC Director of Programming; Marian Masone, FSLC Senior Programming Advisor; Gavin Smith, Editor-in-Chief, Film Comment; and Amy Taubin, Contributing Editor, Film Comment and Sight & Sound.

NYFF previously announced Luminous Intimacy: The Cinema of Nathaniel Dorsky and Jerome Hiler, the first-ever complete dual retrospective of the experimental filmmakers works that will include the world premiere of Dorsky’s Intimations, a new untitled work, and New York premieres of Summer, December, February, and Avraham.

Tickets for the 53rd New York Film Festival will go on sale in early September. Becoming a Film Society Member at the Film Buff Level or above provides early ticket access to festival screenings and events ahead of the general public, along with the exclusive member ticket discount! To find out how to become a Film Society member, visit filmlinc.com/membership.

For even more access, VIP Passes and Subscription Packages give buyers one of the earliest opportunities to purchase tickets and secure seats at some of the festival’s biggest events including Opening, Centerpiece and Closing nights. VIP passes also provide access to many exciting events including the invitation-only Opening Night party, “ An Evening With…” Dinner, Filmmaker Brunch, and VIP Lounge. Benefits vary based on the pass or package type purchased. VIP Passes and Subscription Packages will go on sale Tuesday, June 9.  For information about purchasing Subscription Packages and VIP Passes, go to filmlinc.com/NYFF.

New York Film Festival Opening Night Films

2014    Gone Girl (David Fincher, US)
2013    Captain Phillips (Paul Greengrass, US)
2012    Life of Pi (Ang Lee, US)
2011    Carnage (Roman Polanski, France/Poland)
2010    The Social Network (David Fincher, US)
2009    Wild Grass (Alain Resnais, France)
2008    The Class (Laurent Cantet, France)
2007    The Darjeeling Limited (Wes Anderson, US)
2006    The Queen (Stephen Frears, UK)
2005    Good Night, and Good Luck. (George Clooney, US)
2004    Look At Me (Agnès Jaoui, France)
2003    Mystic River (Clint Eastwood, US)
2002    About Schmidt (Alexander Payne, US)
2001    Va Savoir (Jacques Rivette, France)
2000    Dancer in the Dark (Lars von Trier, Denmark)
1999    All About My Mother (Pedro Almodóvar, Spain)
1998    Celebrity (Woody Allen, US)
1997    The Ice Storm (Ang Lee, US)
1996    Secrets & Lies (Mike Leigh, UK)
1995    Shanghai Triad (Zhang Yimou, China)
1994    Pulp Fiction (Quentin Tarantino, US)
1993    Short Cuts (Robert Altman, US)
1992    Olivier Olivier (Agnieszka Holland, France)
1991    The Double Life of Veronique (Krysztof Kieslowski, Poland/France)
1990    Miller’s Crossing (Joel Coen, US)
1989    Too Beautiful for You (Bertrand Blier, France)
1988    Women on the Verge of a Nervous Breakdown (Pedro Almodóvar, Spain)
1987    Dark Eyes (Nikita Mikhalkov, Soviet Union)
1986    Down by Law (Jim Jarmusch, US)
1985    Ran (Akira Kurosawa, Japan)
1984    Country (Richard Pearce, US)
1983    The Big Chill (Lawrence Kasdan, US)
1982    Veronika Voss (Rainer Werner Fassbinder, West Germany)
1981    Chariots of Fire (Hugh Hudson, UK)
1980    Melvin and Howard (Jonathan Demme, US)
1979    Luna (Bernardo Bertolucci, Italy/US)
1978    A Wedding (Robert Altman, US)
1977    One Sings, the Other Doesn’t (Agnès Varda, France)
1976    Small Change (François Truffaut, France)
1975    Conversation Piece (Luchino Visconti, Italy)
1974    Don’t Cry with Your Mouth Full (Pascal Thomas, France)
1973    Day for Night (François Truffaut, France)
1972    Chloe in the Afternoon (Eric Rohmer, France)
1971    The Debut (Gleb Panfilov, Soviet Union)
1970    The Wild Child (François Truffaut, France)
1969    Bob & Carol & Ted & Alice (Paul Mazursky, US)
1968    Capricious Summer (Jiri Menzel, Czechoslovakia)
1967    The Battle of Algiers (Gillo Pontecorvo, Italy/Algeria)
1966    Loves of a Blonde (Milos Forman, Czechoslovakia)
1965    Alphaville (Jean-Luc Godard, France)
1964    Hamlet (Grigori Kozintsev, USSR)
1963    The Exterminating Angel (Luis Buñuel, Mexico)

ABOUT FILM SOCIETY OF LINCOLN CENTER
Founded in 1969 to celebrate American and international cinema, the Film Society of Lincoln Center works to recognize established and emerging filmmakers, support important new work, and to enhance the awareness, accessibility, and understanding of the moving image. The Film Society produces the renowned New York Film Festival, a curated selection of the year’s most significant new film work, and presents or collaborates on other annual New York City festivals including Dance on Camera, Film Comment Selects, Human Rights Watch Film Festival, New Directors/New Films, New York African Film Festival, New York Asian Film Festival, New York Jewish Film Festival, Open Roads: New Italian Cinema and Rendez-Vous with French Cinema. In addition to publishing the award-winningFilm Comment magazine, the Film Society recognizes an artist’s unique achievement in film with the prestigious Chaplin Award, whose 2015 recipient is Robert Redford. The Film Society’s state-of-the-art Walter Reade Theater and the Elinor Bunin Munroe Film Center, located at Lincoln Center, provide a home for year-round programs and the New York City film community.

The Film Society receives generous, year-round support from American Airlines, The New York Times, HBO, Stella Artois, The Kobal Collection, Variety, Trump International Hotel and Tower, RowNYC, the National Endowment for the Arts, and the New York State Council on the Arts. For more information, visitwww.filmlinc.com and follow @filmlinc on Twitter.

Support for the New York Film Festival is also generously provided by Jaeger-LeCoultre, Fiji Water, and WNET New York Public Media.