For over 50 years, Film at Lincoln Center has been dedicated to supporting the art and elevating the craft of cinema and enriching film culture. The New York…

Main Slate selections from the eleventh New York Film Festival in 1973.
Main Slate selections from the tenth New York Film Festival in 1972.
Main Slate selections from the ninth New York Film Festival in 1971.
Main Slate selections from the seventh New York Film Festival in 1969.
Main Slate selections from the eighth New York Film Festival in 1970.
Main Slate selections from the sixth New York Film Festival in 1968.
FilmComment 68 films
FilmComment 21 films
FilmComment 8 films
Israeli filmmaker Nadav Lapid shows no signs of slowing down in this shattering follow-up to his bat-out-of-hell Synonyms (NYFF57). A film of radical style and splenetic anger, Ahed’s Knee accompanies a celebrated but increasingly dissociated director (Avshalom Pollak) to a small town in the desert region of Arava for a screening of his latest film. Already anguished by the news of his mother’s fatal illness (Lapid’s film was made soon after the death of his own mother, who had worked…
Collective and personal ghosts hover over every frame of Memoria, somehow the grandest yet most becalmed of Apichatpong Weerasethakul’s works. Inspired by the Thai director’s own memories and those of people he encountered while traveling across Colombia, the film follows Jessica (a wholly immersed Tilda Swinton), an expat botanist visiting her hospitalized sister in Bogotá; while there, she becomes ever more disturbed by an abyssal sound that haunts her sleepless nights and bleary-eyed days, compelling her to seek help in…
Denzel Washington stars opposite Sarita Choudhury in Mira Nair’s second fiction feature, which endures as a seminal screen romance of the 1990s. Choudhury is Mina, a Ugandan Indian from Kampala whose family leaves Uganda after the implementation of Idi Amin’s policy of forcefully expelling all Asians from the country. They wind up in Greenwood, Mississippi, living with relatives and trying to reconcile the trauma of their involuntary exile with assimilating to American culture. Some 17 years pass before Mina falls…
Among the many ways that racism is deeply entrenched in our film culture is a technical one: the lighting for movie cameras has always been calibrated for white skin, with other production tools reflecting the same bias throughout cinema history. Three filmmakers collectively explore the literal, theoretical, and philosophical dimensions of that reality in this discursive, playful, and profound work of nonfiction. In a series of thematically linked, provocative discussions and interrogations, Eléonore Yameogo from Burkina Faso, Belgian An van.…
this valentine’s day I took the love of my life (me) to the most romantic place I could think of (the walter reade theater)
This review may contain spoilers. I can handle the truth.
Colonialism Roleplay ASMR - Must Watch Till End!
the first word we hear in ZAMA is "voyeur," an accusation laid against the title character by a group of women he watches bathe on the beach. zama flees as a woman pursues him, only to turn around and strike her down. it is this inciting incident that frames the rest of the film and its perspective on colonialism: not as violence against women persay, but as voyeurism. the indigenous population and…
Colonialism as a closed loop. The faces of the generals and the enemies change but the names seem to stay the same, all the while the once proud official slowly deteriorates, his clothes rotting and his mind melting. Martel's rapturous compositions manage to feel cramped even at their most expansive, using intersecting planar blocking to add to the general sense of confusion, of not knowing where to look or what to do. The last third, which leaps ludicrously far away from the preceding material, somehow sharpens the entire feature, bringing its nightmarish logic into crystalline focus.
Film at Lincoln Center presents a King Vidor Retrospective, running from August 5–August 14.
A fascinating and prolific figure whose career bridged the silent and sound eras of Hollywood, King Vidor completed over 50 feature films during a career that spanned nearly seven decades. Vidor’s cinema, rich with idiosyncratic takes on well-trod Hollywood forms, arced across a wide range of genres, from the Western to the musical to the maternal melodrama (late in his career, he even produced a philosophical primer on metaphysics).
These movies also made a considerable impression on the critics-turned-directors of Cahiers du Cinéma and the French New Wave, namely Luc Moullet and Jean-Luc Godard. Yet, for all his on-screen achievements, Vidor is seldom given his due as one of the studio system’s enduringly great auteurs. Join us at FLC as we seek to change that with a long-awaited retrospective, a survey of his vast body of work that highlights his most celebrated pictures alongside undersung efforts.
Notable films include but are not limited to: Vidor’s most acclaimed film, The Big Parade, often considered a model for numerous future war movies; Vidor’s adaptation of Olive Higgins Prouty’s 1923 novel Stella Dallas, featuring Barbara Stanwyck as of one of the most indelible heroines of Hollywood’s Golden Age; Comrade X, part spy film, part screwball satire starring Clark Gable and Hedy Lamarr, which prophetically anticipated the invasion of Russia and Ukraine by Germany less than a year after its release; and Duel in the Sun, a Western staged as a grand, Freudian frenzy.
As a special treat for filmgoers and Vidor fans alike, there will be live musical accompaniment to select screenings of four silent films in the retrospective: La Bohème, The Crowd, The Patsy, and Show People, performed by Donald Sosin, well-known for creating and performing music for silent films.