JULY 26–AUGUST 9

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This year, Rachel Morrison made history as the first woman MARYSE ALBERTI nominated for the Best Cinematography Oscar, for Mudbound, a CREED VELVET GOLDMINE triumph that also underscored the troubling issue of gender inequality Ryan Coogler, USA, 2015, 133m , UK/USA, 1998, 35mm, 124m in the film industry. Few jobs on a movie set have been as historically The legend of Rocky lives on as Michael B. Jordan’s gutsy Adonis Johnson—son of The birth of Oscar Wilde; the staged death closed to women as that of —the persistence of Apollo Creed—sets out to prove he’s got of a flamboyant rock star modeled closely the term “cameraman” says it all. Despite this lack of representation, what it takes to be the next champ, leav- after David Bowie; the delirious inebriation trailblazing women have left their marks on the field through ing his luxe L.A. life behind to train in the of London at the height of the glam era: hard-knock gyms of Philadelphia with the Haynes’s discourse on celebrity culture extraordinary artistry and profound vision. As seen through their Italian Stallion himself. After the breakout is as sprawling and multi-tracked as his eyes, films by directors like , Jacques Rivette, Chantal success of Fruitvale Station, director Ryan previous film, Safe, had been clinically Akerman, Ryan Coogler, and Lucrecia Martel are immeasurably richer, Coogler shows his facility for major budget restrained. Much of Velvet Goldmine, the spectacle, balancing a rousing underdog story of a journalist who tries to reconstruct deeper, and more wondrous. Featuring in-person appearances, this sports story with a poignant portrait of the sordid life story of the failed glam rock international two-week series spotlights the amazing work of such intergenerational friendship. Alberti's star he’d idolized as a young man, was shot accomplished female as Agnès Godard, Natasha virtuoso lensing astonishes in a dazzling in London, and the move gave Haynes a four-and-a-half minute fight sequence that chance to abandon the cloister-like sub- Braier, Kirsten Johnson, Joan Churchill, Maryse Alberti, Ellen Kuras, unfolds in one bruising, breathless take. urbs of his earlier films for a much more col- and Babette Mangolte, while also posing the question: is there such a orful, Dionysian milieu. Haynes and Alberti thing as the “Female Gaze” at all? Thursday, August 2 1:30pm crafted one of the most visually thrilling Sunday, August 5 9:00pm music movies of the 1990s. An NYFF36 Organized by Florence Almozini, Madeline Whittle, and Tyler Wilson selection. Acknowledgments: Cinémathèque Royale de Belgique; UCLA Film & Television Archive; Mathieu Fournet and Amelie Garin-Davet, Cultural Services of the French Embassy; Institut Sunday, July 29 8:30pm Français; Agnès Godard, Natasha Braier, Joan Churchill, Ashley Connor, Babette Mangolte, Tuesday, August 7 4:15pm and Kirsten Johnson

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BARBARA ALVAREZ AKIKO ASHIZAWA DIANE BARATIER CÉLINE BOZON THE HEADLESS WOMAN TOKYO SONATA THE ROMANCE OF ASTREA LA FRANCE Lucrecia Martel, Argentina/France/Italy/ Kiyoshi Kurosawa, Japan, 2008, 120m AND CELADON Serge Bozon, France, 2007, 35mm, 102m Spain, 2008, 35mm, 87m What strange deceptions lurk beneath the Éric Rohmer, France, 2007, 109m In the fall of 1917, as World War I rages, Alvarez imparts a restrained—and very placid veneer of the average Japanese At the age of 88, Éric Rohmer bid adieu to a lovelorn soldier’s wife (Sylvie Testud) strange—spatial texture to Lucrecia family? Horror maestro Kiyoshi Kurosawa’s cinema with this enchanting mythological disguises herself as a man and sets off Martel’s excitingly splintered third feature, unexpected—but wholly rewarding—foray idyll, which brims with all the vitality and for the front in search of her missing hus- about a woman (a stunning María Onetto) into family melodrama-cum-black comedy freshness of youth. Frequent Rohmer cine- band. Along the way, she meets up with a in a state of phenomenological distress quivers with an undercurrent of dread as matographer Baratier conjures a sun-dap- company of soldiers under the command following a mysterious road accident. salaryman dad (Teruyuki Kagawa) loses pled bucolic dream vision of fifth-century of a gruff lieutenant (Pascal Greggory), Martel’s rare gift for building social melo- his job and desperately attempts to main- Gaul, where a beguiling fable of romantic who reluctantly allows Camille to join their drama from sonic and spatial textures, tain the illusion that he’s still employed; misunderstanding plays out when a band ranks. From time to time, these surprisingly behavioral nuances, and an unerringly his grade-school son (Kai Inowaki) rebels of druids and nymphs intervene in the sensitive, introspective men break out an brilliant sense of the joys, tensions, and by secretly taking (gasp!) piano lessons; lovers’ quarrel between androgynously assortment of homemade instruments endless reserves of suppressed emotion and mom (Kyōko Koizumi) finds what she’s beautiful shepherd Celadon (Andy and perform original songs written for the lurking within the familial structure is here been looking for with her own kidnapper. Gillet) and his jealous paramour Astrea film by Benjamin Esdraffo and the artist pushed to another level of creative daring. Ashizawa’s elegant long shots toy with the (Stéphanie Crayencour). Introducing known as Fugu, styled after the American An NYFF46 selection. 35mm print cour- meticulous framings of Ozu as Kurosawa hitherto untapped themes of gender and “sunshine pop” of The Beach Boys and tesy of UCLA Film & Television Archive. guides the film through a series of increas- sexual fluidity into his work, Rohmer crafts The Mamas and the Papas. Exquisitely ingly audacious tonal shifts. An NYFF46 an exalted paean to love both spiritual and shot by Céline Bozon (the director’s sister), Saturday, July 28 1:00pm selection. carnal. An NYFF45 selection. this unclassifiable hybrid of war movie and movie musical is truly unlike anything Tuesday, August 7 6:45pm Friday, August 3 2:00pm you’ve ever seen before. Print courtesy of Thursday, August 9 7:00pm the Institut Français.

Wednesday, August 1 6:45pm Wednesday, August 8 1:30pm

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NATASHA BRAIER THE MILK OF SORROW THE DEMON For me, it started with a very early fascination I had for , Spain/, 2009, , / 35mm, 94m France/USA/UK, 2016, 118m playing with light as a kid. Today, I can say cinematography has Fausta, the only daughter of an aged Like a 21st-century Showgirls meets become a way of experiencing the world. It’s much more than indigenous Peruvian mother, is said to Suspiria, Nicolas Winding Refn’s delirious have been nursed on “the milk of sorrow.” plunge into the fake plastic horror of the a job, a craft or your artistic expression; it’s a way of life. This accursed designation is bestowed image-obsessed fashion industry trafficks on the children of victims of the former in both high-camp excess and kaleido- It’s a way of participating in society, choosing responsibly the kind terrorist regime. Fausta has learned of scopically stylized splatter. is of stories I want to tell and from where I position my point of view her mother’s past and her own presup- the guileless recent L.A. transplant whose posed fate through invented song, which fresh-faced youth and beauty almost to tell them. I’m not so sure I believe in a ‘female gaze.’ I believe is both an art form and oral history tradi- instantly land her a high-profile modeling tion. Upon her mother’s death, she must contract. Whatever “it” is, she has it. And in the individual gaze. Each person is a unique collection of life venture beyond the safety of her uncle’s a coterie of monstrously jealous, flavor-of- experiences. Yes, you could say my gaze has something feminine, home and choose whether or not to lend last-month Hollyweird burnouts will stop her gift of song so that she can pay for a at nothing to get it. Working in a super- for sure, but it also has something from being a South American proper burial. Llosa and Braier capture the saturated, electric day-glo palette, Braier striking beauty of Lima’s outskirts, as well fashions a sleek, freaky-seductive vision that emigrated to Europe when I was 18; the influence of having as a revelatory performance by Magaly of L.A.’s dark side. been raised by two Freudian shrinks; of having lived in four different Solier, with dignity and grace. Winner of the at the 2009 Berlin Film Saturday, July 28 8:00pm countries and immersed myself in different cultures. My gaze has Festival. A New Directors/New Films 2009 Q&A with Natasha Braier selection. the experience of living in the jungle with shamans, and it contains traces of every single one of my broken hearts. Sunday, July 29 3:30pm Q&A with Natasha Braier

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CAROLINE CHAMPETIER JOAN CHURCHILL THE GANG OF FOUR HOLY MOTORS LE PONT DU NORD AILEEN: LIFE AND DEATH Jacques Rivette, France/Switzerland, Leos Carax, France, 2012, 116m Jacques Rivette, France, 1982, 129m OF A SERIAL KILLER 1989, 160m Champetier and Yves Cape both lensed becomes a labyrinthine life-size Nick Broomfield & Joan Churchill, UK/ Four women, a shadowy conspiracy, and this unclassifiable, expansive movie from game board in one of the most elaborate USA, 2004, 93m a whole lot of acting exercises: we’re firmly Leos Carax about a man named Oscar of Rivette’s sprawling, down-the-rabbit- Just months after Monster made Aileen in Rivette territory in one of the director’s (longtime collaborator ) who hole cine-puzzles. Bulle Ogier and her Wuornos a household name—and Charlize most spellbinding explorations of the inhabits 11 different characters over the daughter Pascale star, respectively, as Theron an Oscar darling—­documentarian sometimes terrifyingly thin line between course of a single day. This shape-shifter a hitchhiking ex-con and a leather-clad Nick Broomfield and co-­director/cinema- everyday life and the strangeness beneath is shuttled from appointment to appoint- tough girl who meet by chance on the tographer Churchill unleashed this rivet- it. A quartet of aspiring actresses live ment in Paris in a white-stretch limo driven city streets, come into possession of a ing portrait of the real-life serial killer. Of together while studying with a demand- by the soignée Edith Scob (Eyes Without a curious map, and find themselves caught the two films, it remains the more chilling ing coach (Bulle Ogier). As they rehearse Face); not on the itinerary is an unplanned in a sinister cobweb of underworld con- experience, an unflinching face-to-face Pierre Marivaux’s La Double inconstance, reunion with . To summa- spiracy. Shooting seemingly on the fly, encounter with a deeply damaged soul offstage drama creeps into their lives rize the film any further would be to take almost documentary-style on the streets who, as she prepares for her imminent exe- in the form of a menacing mystery man away some of its magic; the most accurate of Paris, cinematographers Champetier cution, is at once eager to set the record (Benoît Régent) with a sinister story to précis comes from its own creator, who and William Lubtchansky telegraph a free- straight, angrily defiant, and increasingly tell. Champetier’s moody lensing—muted aptly described Holy Motors after its world wheeling, anything-goes sense of play, as delusional. Daring to find the humanity in reds, golds, and browns—creates the premiere in Cannes as “a film about a man well as a creeping surveillance paranoia. one of the most vilified criminals of the feeling of an all-enveloping universe oper- and the experience of being alive.” An An NYFF19 selection. century, Broomfield and Churchill—whose ating according to its own paranoid logic. NYFF50 selection. camera remains ever-alert and skillfully Friday, August 3 6:30pm unobtrusive—craft a haunting, complex Friday, July 27 3:15pm Saturday, August 4 7:15pm look at a life gone wrong. Wednesday, August 8 6:15pm Monday, August 6 4:00pm Monday, July 30 6:45pm Q&A with Joan Churchill

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JOSÉE DESHAIES CRYSTEL FOURNIER ASHLEY CONNOR REED MORANO HOUSE OF TOLERANCE TOMBOY THE MISEDUCATION OF I THINK WE’RE ALONE NOW , France, 2011, 35mm, Céline Sciamma, France, 2011, 35mm, CAMERON POST Reed Morano, USA, 2018, 93m 122m 82m Desiree Akhavan, USA, 2018, 90m Pulling double duty as director and cin- “I could sleep for a thousand years,” drawls A sensitive, heartrending portrait of what Based on the celebrated novel by Emily ematographer, Morano finds the melan- a 19th-century prostitute—paraphras- it feels like to grow up different, Sciamma’s M. Danforth, Akhavan’s second feature cholic beauty in the end of the world with ing Lou Reed—at the start of Bonello’s beautifully observed coming-of-age tale follows the titular character (Chloë Grace this gorgeous and strange drama starring hushed, opium-soaked fever dream of life aches tenderly with the tangled confusion Moretz) in 1993 as she is sent to a gay con- Peter Dinklage and Elle Fanning as the last in a Parisian brothel at the turn of the cen- of childhood. When 10-year-old Laure’s version therapy center after getting caught people on Earth. When the film opens in tury. House of Tolerance is, among other family moves to a new neighborhood with another girl on prom night. In the face a desolate upstate New York, the misan- things, Bonello’s most gorgeous and com- during the summer, the gender-noncon- of intolerance and denial, Cameron meets thropic Del (Dinklage) is performing rote, plete application of musical techniques to forming preteen (played by the impres- a group of fellow sinners, including ampu- custodial tasks to clean up the chaos film grammar, his most rigorous attempt to sively naturalistic Zoé Héran) takes the tee stoner Jane (Sasha Lane) and her left around his hometown—and relishing sculpt cinematic space, his most probing opportunity to present as Mickäel to the friend Adam (Forrest Goodluck), a Lakota his newfound solitude—until another, reflection on the origins of capitalist soci- neighborhood kids—testing the waters Two-Spirit. Together, this group forms an sprightly survivor (Fanning) arrives. Winner ety, and his most sophisticated study of of a new identity that neither friends unlikely family with a will to fight. Akhavan of the Special Jury Prize for Excellence the movement of bodies under immense nor family quite understand. Sciamma’s and Connor evoke the emotional layers of in Filmmaking at the 2018 Sundance Film constraint. A shocking mutilation, a funeral warmly empathetic tone is perfectly com- Danforth’s novel with an effortless yet con- Festival, I Think We’re Alone Now is a staged to The Moody Blues’ “Nights in plemented by the soft-lit impressionism of sidered attention to the spirit of the ’90s visually audacious entry in the postapoc- White Satin,” a progression of ritualized, Fournier’s glowing cinematography. Print and the audacious, moving performances alyptic genre and an idiosyncratic take on drugged assignations and encoun- courtesy of the Institut Français. of the ensemble cast. A FilmRise release. loneliness and grief. ters: Bonello and frequent collaborator Deshaies capture it all with both casual Monday, August 6 2:15pm Sunday, July 29 6:00pm Thursday, August 2 6:30pm detachment and needlepoint precision. Thursday, August 9 9:15pm Q&A with Ashley Connor Q&A with Reed Morano

Wednesday, August 1 2:00pm Sunday, August 5 4:30pm

@FILMLINC FOR TICKETS: FILMLINC.ORG Believing in a ‘female gaze’ means believing in a ‘male gaze,’ THURSDAY, JULY 26 FRIDAY, AUGUST 3 7:00 Beau travail 2:00 The Romance of Astrea and I sincerely hope we’re moving more towards a world not bound 9:30 and Celadon 4:15 Around a Small Mountain by gender binaries. I believe in Laura Mulvey’s theory of the male FRIDAY, JULY 27 6:30 Le Pont du Nord 1:00 The Strange Case of Angelica 9:15 The Wonders gaze deeply, but I find it difficult to address now because as we 3:15 The Gang of Four 6:30 Cameraperson SATURDAY, AUGUST 4 fight towards gender equality it also means redefining old terms. 8:45 Derrida 1:00 Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles But I also understand that as a female-identifying cinematographer SATURDAY, JULY 28 4:45 Eastern Boys 1:00 The Headless Woman 7:15 Holy Motors 3:00 The Intruder 9:30 Eternal Sunshine of the it is important to establish what qualities I attribute to my work, and Spotless Mind 6:30 Free Talk Elinor Bunin Munroe Film Center Amphitheater

I’d more call it an emotional gaze. I try to approach every subject 8:00 SUNDAY, AUGUST 5 2:00 Pina [in 3D] with a level of respect and love; I’d say the ‘male’ gaze wishes SUNDAY, JULY 29 4:30 House of Tolerance 1:00 La Captive 7:00 Fruitvale Station to devour, conquer, and control. The future is a loss of ego—an 3:30 The Milk of Sorrow 9:00 Creed 6:00 Sneak Preview: abandonment of the concept of the director as the sole auteur, a The Miseducation of MONDAY, AUGUST 6 Cameron Post 2:15 Tomboy

participation in a new set structure and deteriorating, old power 9:00 Velvet Goldmine 4:00 Holy Motors 6:30 The Camera: Je or La Camera: I dynamics. I want to visually traverse new territories with a sensitivity MONDAY, JULY 30 8:30 Swoon 2:00 Swoon and a commitment to putting work out in the world that doesn’t feed 4:00 Eastern Boys TUESDAY, AUGUST 7

6:45 Aileen: Life and Death 2:00 Pina [in 3D] of a Serial Killer into a purely capitalistic machine. 4:15 Velvet Goldmine 9:15 Stranger by the Lake 6:45 Tokyo Sonata —ASHLEY CONNOR Paranoid Park TUESDAY, JULY 31 9:15 1:00 35 Shots of Rum WEDNESDAY, AUGUST 8 3:15 Jeanne Dielman, 23, Quai du 1:30 La France Commerce, 1080 Bruxelles 3:45 The Wonders WEDNESDAY, AUGUST 1 6:15 The Gang of Four 9:15 Around a Small Mountain 2:00 House of Tolerance 4:30 Eternal Sunshine of the FREE TALK Sponsored by Spotless Mind THURSDAY, AUGUST 9 6:45 La France 2:00 Stranger by the Lake 9:00 The Strange Case of Angelica 4:15 The Intruder Join us for an hour-long conversation with cinematographers Natasha Braier, Ashley 7:00 The Romance of Astrea Connor, Agnès Godard, and Joan Churchill as they discuss the series and reflect on their THURSDAY, AUGUST 2 and Celadon 9:15 Tomboy careers and influences, and how they approach their craft. 1:30 Creed 4:15 Cameraperson

IN-PERSON APPEARANCE 6:30 Sneak Preview: Saturday, July 28 6:30pm I Think We’re Alone Now All screenings & events take place in the Elinor Bunin Munroe Film Center Amphitheater 9:00 Beach Rats Walter Reade Theater unless otherwise noted Photo by Ognon/Kobal/REX/Shutterstock Photo by Sm/Kobal/REX/Shutterstock

AGNÈS GODARD BEAU TRAVAIL 35 SHOTS OF RUM THE INTRUDER Cinematography is such Claire Denis, France, 1999, 35mm, 92m Claire Denis, France/Germany, 2008, Claire Denis, France, 2005, 35mm, a beautiful word, so simple, Denis’s loose retelling of Billy Budd, set 35mm, 100m 130m so clear, so full. The sound of among a troop of Foreign Legionnaires When is a rice cooker more than just a rice Rich, strange, and tantalizingly enigmatic, stationed in the Gulf of Djibouti, is one cooker? When it’s in the masterful hands Denis’s crypto-odyssey is a mesmeric it evokes right away what it is of her finest films, an elemental story of of Claire Denis, who somehow transforms sensory experience that haunts like a about: a language, a common misplaced longing and frustrated desire. it into a moving metaphor for the evolv- half-­remembered dream. Inspired by a language of cinema spoken and Beneath a scorching sun, shirtless young ing relationship between a Parisian train book by philosopher Jean-Luc Nancy, men exercise to the strains of Benjamin conductor (Alex Descas) and his devoted The Intruder skips across time and conti- shared by human beings, both Britten, under the watchful eye of Denis twenty-something daughter (Mati Diop) as nents—from the Alpine wilds to a neon-lit men and women. I would rather Lavant’s officer Galoup, their ritualized he gently nudges her out of the nest and Korea to a tropical Tahiti suffused with concentrate on seeking how to movements simmering with barely sup- each tests the waters of new relationships. languorous melancholy—as it traces the pressed violence. When a handsome Warmed by the ember-glow of Godard’s journey of an inscrutable, ailing loner fulfill this magical word. I would recruit wins the favor of the regiment’s beautifully burnished cinematography, (Michel Subor) seeking a black market rather consider the wide range of commander, cracks start to appear in Denis’s delicately bittersweet take on the heart transplant and his long-lost son. cinematography’s variations and Galoup’s fragile composure. In the tense, Ozu-style family drama conveys worlds of An impressionist wash of hallucinations, tightly disciplined atmosphere of military meaning and emotion—attraction, heart- memories, and dreams are borne along nuances as the richness of a human life, Denis found an ideal outlet for two ache, loss, hope—in a mere glance, a ges- on the lush textures of Godard’s shimmer- being’s sensitivity, subjectivity, not career-long concerns: the quiet agony of ture, and, yes, a kitchen appliance. ing cinematography. Print courtesy of the necessarily split into two worlds: repressing one’s emotions and the terror Institut Français. of finally letting loose. An NYFF37 selec- Thursday, July 26 9:30pm man and woman. Why should it be tion. Print courtesy of the Institut Français. Q&A with Agnès Godard Saturday, July 28 3:00pm Q&A with Agnès Godard two different languages? Cinema is Tuesday, July 31 1:00pm 7:00pm one world. Thursday, July 26 Thursday, August 9 4:15pm Q&A with Agnès Godard Reception at 6:00pm, sponsored by Stella Artois @FILMLINC FOR TICKETS: FILMLINC.ORG Photo by David Lee/Focus Features/Kobal/REX/Shutterstock Photo by David Lee/Focus Photo by Intolerance Prods/Us Playhouse/Kobal/REX/Shutterstock Photo by Intolerance Prods/Us Playhouse/Kobal/REX/Shutterstock

KIRSTEN JOHNSON ELLEN KURAS CAMERAPERSON DERRIDA ETERNAL SUNSHINE OF THE SWOON Kirsten Johnson, USA, 2016, 102m Kirby Dick & Amy Ziering, USA, 2002, SPOTLESS MIND Tom Kalin, USA, 1992, 35mm, 93m How much of one’s self can be captured 35mm, 84m Michel Gondry, USA, 2004, 35mm, 108m One of the most daring works to emerge in the images shot of and for others? Postmodern intellectual rockstar Jacques The feverish imaginations of DIY surrealist from the New Queer Cinema movement Johnson’s work as a director of photogra- Derrida receives an appropriately self-­ Gondry and of the early 1990s, Swoon offers a rad- phy and camera operator has helped earn reflexive portrait in this playful, probing kick into overdrive for the great gonzo ical, revisionist perspective on the infa- her documentary collaborators (Laura documentary. Framed by the French sci-fi romance of the early 2000s. When mous Leopold and Loeb murder case. Poitras, Michael Moore, Kirby Dick, Barbara philosopher’s statements about the nice guy dweeb Joel (Jim Carrey) encoun- Channeling the spirits of Dreyer, Bresson, Kopple) nearly every accolade and award inherent unreliability of biography, it finds ters blue-haired spitfire Clementine (Kate and Jean Genet, director Tom Kalin chal- possible. Recontextualizing the stunning co-­director Amy Ziering attempting to Winslet) on the LIRR, there’s a spark of lenges viewers to identify with two of the images inside, around, and beyond the tease out the links between Derrida’s rad- attraction, but also something familiar— most notorious killers of the 20th century, works she has shot, Johnson constructs a ically influential thinking (he expounds on almost as if they’ve met before… Cue their crime—the Nietzsche-influenced thrill visceral and vibrant self-portrait of an artist everything from forgiveness to Seinfeld) a ping-ponging, time- and space-col- killing of a schoolboy in 1920s Chicago— who has traveled the globe, venturing into and his own life. Even as the alternately lapsing journey through memory and and punishment recounted in ghostly landscapes and lives that bear the scars of witty and reflective Derrida remains cagey a star-crossed love gone sour. Kuras’s black and white by Kuras. Throughout, trauma both active and historic. Rigorous about personal matters, Johnson’s atten- high-contrast handheld camerawork Kalin cannily deconstructs the ways in yet nimble in its ability to move from heart- tive camera captures revealing flashes of enhances the whiplash sense of disorien- which Leopold and Loeb’s homosexuality ache to humor, Cameraperson trains an the man behind the ideas. What emerges tation in what is, ultimately, a heart-wound- has been historically sensationalized and essential lens on the things that make us is a fascinating interrogation of filmic truth: ing parable about the ways in which we demonized—a provocative analogy for human. A 2016 New Directors/New Films a documentary that relentlessly decon- inevitably hurt those we love most. queer persecution in the AIDS era. selection. structs itself. Wednesday, August 1 4:30pm Monday, July 30 2:00pm Friday, July 27 6:30pm Friday, July 27 8:45pm Saturday, August 4 9:30pm Monday, August 6 8:30pm Thursday, August 2 4:15pm

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SABINE LANCELIN JEANNE LAPOIRIE RAIN LI LA CAPTIVE THE STRANGE CASE OF EASTERN BOYS PARANOID PARK Chantal Akerman, France/Belgium, ANGELICA Robin Campillo, France, 2013, 128m , USA, 2007, 35mm, 85m 2000, 35mm, 118m Manoel de Oliveira, Portugal, 2010, Lapoirie’s surveillance-style camerawork At once a dreamlike portrait of teen alien- Akerman’s hypnotic exploration of erotic 35mm, 97m masterfully follows the men who loiter ation and a boldly experimental work of obsession plays like Vertigo filtered Oliveira’s sly, metaphysical romance— around the Gare du Nord train station in film narrative,Paranoid Park finds Gus through the director’s visionary feminist made when the famously resilient director Paris as they scrape by, forming gangs for Van Sant at the height of his powers. A formalism. Loosely inspired by the fifth was a mere 102 years old—is a mesmer- support and protection, fearful of being withdrawn high-school skateboarder volume of Proust’s In Search of Lost Time, izing, beyond-the-grave rumination on caught and deported. When middle-aged, (Gabe Nevins) struggles to make sense it circles around the very-strange-indeed love, mortality, and the power of images. bourgeois Daniel (Olivier Rabourdin) of his involvement in an accidental death. relationship between the seemingly pliant On a rain-slicked night, village photogra- approaches boyishly handsome Ukrainian He recalls past events across tides of Ariane (Sylvie Testud) and the disturbingly pher Isaac (Ricardo Trêpa) is summoned “Marek,” he learns the young man is willing memory, and expresses his feelings in a jealous Simon (Stanislas Merhar), whose by a wealthy family to take a picture of to do anything for some cash. What Daniel diary—which is, in effect, the movie we need to possess her completely in turn their beautiful, recently deceased daugh- intends only as sex-for-hire begets a home are watching. The extraordinary skating renders him hostage to his own destruc- ter Angelica (Pilar López de Ayala). What invasion and then an unexpectedly pro- scenes, filmed by Rain Li and Christopher tive desires. Lancelin’s coolly contempla- ensues is a ghostly tale of romantic obses- found relationship. The drastically differ- Doyle in a lyrical mixture of Super 8 and tive camera style imparts an unbroken, sion as Isaac finds his dreams—and his ent circumstances of the two men’s lives 35mm, depict their subjects soaring in trance-like tension, which finds release photographs—haunted by the spirit of the reveal hidden facets of the city they share. space, momentarily free of the earthly only in the thunderous roil of the operatic bewitching young woman. Lancelin’s crisp This absorbing, continually surprising film troubles of adolescence. An NYFF45 score. Print courtesy of Cinémathèque chiaroscuro compositions enhance the by Robin Campillo (BPM: Beats Per Minute) selection. Royale de Belgique. film’s otherworldly, unstuck-in-time aura. is centered around relationships that defy An NYFF48 selection. easy categorization, in which motivations Tuesday, August 7 9:15pm Sunday, July 29 1:00pm and desires are poorly understood even Friday, July 27 1:00pm by those to whom they belong. Wednesday, August 1 9:00pm Monday, July 30 4:00pm Saturday, August 4 4:45pm

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Photo by Tempesta/Amka Prooductions/ Photo by Tempesta/Amka Cinema/Kobal/REX/Shutterstock Rai

HÉLÈNE LOUVART IRINA LUBTCHANSKY BEACH RATS PINA [IN 3D] THE WONDERS AROUND A SMALL MOUNTAIN Eliza Hittman, USA, 2017, 95m , Germany/France, 2011, Alice Rohrwacher, Italy/Switzerland/ Jacques Rivette, France/Italy, 2009, Hittman follows up her acclaimed debut, It 106m Germany, 2014, 110m 35mm, 84m Felt Like Love, with this sensitive chronicle Wenders began planning this project Winner of the Grand Prix at the Cannes Rivette’s final film is a captivating varia- of sexual becoming. Frankie (a breakout with legendary choreographer Pina Film Festival, Rohrwacher’s vivid story of tion on a theme that obsessed him: the Harris Dickinson), a bored teenager living Bausch in the months before her untimely teenage yearning and confusion revolves interplay between life and performance. in South Brooklyn, regularly haunts the death, selecting the pieces to be filmed around a beekeeping family in rural cen- Luminously photographed by Lubtchansky Coney Island boardwalk with his boys— and discussing the filmmaking strategy. tral Italy: German-speaking father, Italian in the open-air splendor of the south of trying to score weed, flirting with girls, Impressed by recent innovations in 3D, mother, four girls. Two unexpected arrivals France, it revolves around an Italian flan- killing time. But he spends his late nights Wenders decided to experiment with prove disruptive, especially for the pensive eur (Sergio Castellitto) who finds himself dipping his toes into the world of online the format for this tribute to Bausch and oldest daughter, Gelsomina. The father drawn into the world of a humble traveling cruising, connecting with older men and her Tanztheater Wuppertal. Not only are takes in a troubled teenage boy as part of circus led by the elusive Kate (Jane Birkin), exploring the desires he harbors but the beauty and sheer exhilaration of the a welfare program, and a television crew whose enigmatic past becomes a tantaliz- doesn’t yet fully understand. Sensuously dances and dancers powerfully rendered shows up to enlist local farmers in a kitschy ing mystery he is determined to solve. An lensed on 16mm by Louvart, Beach Rats by Louvart and Jörg Widmer’s lensing, celebration of Etruscan culinary traditions NYFF47 selection. presents a colorful and textured world but the film also captures the sense of the (a slyly self-mocking Monica Bellucci plays Preceded by SARAH WINCHESTER, roiling with secret appetites and youthful world that Bausch so brilliantly expressed the bewigged host). Louvart’s lensing GHOST OPERA self-discovery. A 2017 New Directors/New in all her pieces. Longtime members of the combines a documentary attention to Bertrand Bonello, France, 2016, 24m Films selection. A Neon release. Tanztheater recreate many of their origi- daily ritual with an evocative atmosphere Bonello’s baroque short, a meditation on nal roles in such seminal works as “Café of mystery to conjure a richly concrete the heiress to the Winchester rifle fortune, Thursday, August 2 9:00pm Müller,” “Le Sacre du Printemps,” and world that is subject to the magical think- plays like an ornate ballet-cum-horror film. “Kontakthof.” An NYFF49 selection. ing of adolescence. An NYFF52 selection. An NYFF54 selection.

2:00pm 9:15pm Sunday, August 5 Friday, August 3 Friday, August 3 4:15pm 2:00pm 3:45pm Tuesday, August 7 Wednesday, August 8 Wednesday, August 8 9:15pm

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Photo by Forest Whitaker'S Significant Prods./ Photo by Forest Whitaker'S Og Project/Kobal/REX/Shutterstock Photo by Les Film Du Worso/Arte France Cinema/ Film Du Worso/Arte Photo by Les Prods./Kobal/REX/Shutterstock

BABETTE MANGOLTE CLAIRE MATHON RACHEL MORRISON THE CAMERA: JE OR JEANNE DIELMAN, 23, STRANGER BY THE LAKE FRUITVALE STATION LA CAMERA: I QUAI DU COMMERCE, 1080 , France, 2013, 97m Ryan Coogler, USA, 2013, 85m Babette Mangolte, USA, 1977, 88m BRUXELLES Guiraudie’s Cannes-awarded exploration Coogler’s remarkable debut feature Though perhaps best known as the cin- Chantal Akerman, Belgium/France, of death and desire unfolds entirely in explores the life and harrowing death of ematographer for Chantal Akerman’s 1976, 35mm, 201m the vicinity of a gay cruising ground that Oscar Grant (played by Michael B. Jordan), groundbreaking 1970s work—as well as for A landmark of feminist art, Akerman’s min- becomes a crime scene. Franck (Pierre a 22-year-old African-American man killed her collaborations with avant-garde icons imalist masterpiece is both a monumental Deladonchamps) is a regular at a lakeside by police in the early hours of January 1, like Yvonne Rainer, Trisha Brown, and and microscopic view of three days in the pickup spot, where he finds compan- 2009. Six months after sweeping both the Marina Abramović—Babette Mangolte is life of a fastidious Belgian single mother (a ionship both platonic and carnal. But his Grand Jury Prize and the Audience Award a singular cinematic visionary in her own sphinx-like Delphine Seyrig) as she goes new paramour Michel (Christophe Paou) at the , Fruitvale right. In this structuralist auto-portrait, about her housework, peeling potatoes turns out to be a love-’em-and-leave-’em Station opened on the same weekend Mangolte allows viewers to peer through and washing dishes with the same clinical type, in the deadliest sense… Guiraudie that jurors in Florida acquitted George the lens of her camera as she produces a detachment with which she makes love has long been a singular voice in French Zimmerman in the death of Trayvon Martin. series of still photographs, first of models, to the occasional john. And then slowly, cinema: anti-bourgeois, at ease in nature, Morrison’s gripping, exploratory Super 16 then of the streetscapes of downtown almost imperceptibly, things begin to go a true regionalist and outsider. Here he on-location camerawork dramatizes the Manhattan. As we experience the act of awry… The rigorous, relentlessly impas- and Mathon capture naked bodies and unseen complexities and personal rela- image-making through her eyes, what sive gaze of Mangolte’s camera is transfix- hardcore sex with the same matter-of-fact tionships of Grant’s inner circle with a star- emerges is a heady consideration of the ing but, in the words of the director, “never sensuousness they bring to ripples on tling sense of urgency, emotion, and the art and act of seeing and of the complex voyeuristic”; it’s a uniquely feminine way of the water and the fading light of dusk. An unflagging awareness of a preventable relationship between photographer, sub- seeing made manifest by one of the most NYFF51 selection. tragedy too often seen in the news cycle. ject, and viewer. sui generis filmmaker-cinematographer partnerships in history. Monday, July 30 9:15pm Sunday, August 5 7:00pm Monday, August 6 6:30pm Thursday, August 9 2:00pm Tuesday, July 31 3:15pm Saturday, August 4 1:00pm

@FILMLINC FOR TICKETS: FILMLINC.ORG When I look through a camera and record moving images, I have new powers. I am acutely aware that I am in my own very particular body when I film—because of what a physical job it is, because of the way people look at me, because a woman with a camera is still uncommon, because a woman who has the agency a camera brings is still a sight to behold, because I get close to people and sometimes touch them, because I feel when I film, because I am aware of the ways my shortcomings can misrepresent others... The list goes on and remains grounded in the physical act of being present when I film. Sometimes I am gazing, sometimes I am moving, sometimes I am swooning with discovery, always I am searching. This is my ever-evolving female gaze. —KIRSTEN JOHNSON

OFFICIAL MEDIA

HOSPITALITY SUPPORTING

This project is supported in part by an award from the National Endowment for the Arts. New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Cover images (top to bottom): Beau Travail; Eternal Sunshine of the Spotless Mind (Photo by David Lee//Kobal/REX/Shutterstock); The Milk of Sorrow (Photo by Oberon/Vela/Wanda/ Kobal/REX/Shutterstock). Back cover image: Cameraperson