As August ushers in the vibrant fall film festival season, a global pilgrimage of stars, industry figures, journalists, and avid cinephiles commences. Shedding summer’s ease, they traverse continents from Venice to Telluride, Toronto, and finally, New York, all in pursuit of the latest cinematic masterpieces. For those fortunate enough to call the city home, experiencing the New York Film Festival’s fresh perspectives means merely a short journey to explore entirely new worlds of storytelling.
As Film at Lincoln Center’s premier event, this year’s robust festival lineup beautifully blends contemporary and classic films, presenting both features and shorts from across the globe. Audiences can expect a rich tapestry of dramas, insightful essay films, compelling biopics, chilling horror, and entries that boldly defy genre, such as Kahlil Joseph’s ‘BLKNWS: Terms & Conditions,’ a profound and expansive look at Black life. Other standout features poised to captivate include Kathryn Bigelow’s tense missile thriller ‘A House of Dynamite,’ Joachim Trier’s poignant family narrative ‘Sentimental Value,’ and Park Chan-wook’s exhilarating ‘No Other Choice.’
The festival proudly presents 74 features, including two from the consistently surprising Romanian director Radu Jude: ‘Dracula’ and ‘Kontinental ’25.’ Also featured are Francesco Sossai’s delightful Italian romp, ‘The Last One for the Road,’ and an extraordinary, singular account of the Portuguese explorer Ferdinand Magellan’s turbulent life by Filipino auteur Lav Diaz, titled ‘Magellan.’ Prepare to adjust your internal clock for Diaz’s epic, which unfolds with a deliberate pace, far removed from typical Hollywood fare. This shift in perspective—challenging our preconceptions of what cinema can achieve—is precisely why festivals like this are so vital.
Gianfranco Rosi’s Italian documentary, ‘Below the Clouds,’ transports viewers to Naples and its volcanic environs, a region constantly on edge. Through a delicate rhythm and stunning black-and-white cinematography, Rosi gracefully weaves together past and present. He captures the daily anxieties of residents who frequently report earthquake and eruption fears, interspersing these with poignant glimpses of abandoned cinemas – a metaphor for a lost era. This imagery masterfully links the film to the ancient tragedy of Pompeii and to Roberto Rossellini’s iconic ‘Journey to Italy’ (1954), a title that resonates deeply with Rosi’s own beautiful and reflective work.
Mirroring Rosi’s success, several other festival entries arrive with significant buzz from previous screenings. Notably, Jim Jarmusch’s ‘Father Mother Sister Brother’ recently garnered top accolades at the Venice Film Festival. With his signature calm, nuanced approach, and dry wit, Jarmusch crafts intimate portraits of various families. He deftly explores their internal and external worlds, building distinct, intricate depictions through subtle smiles, telling gestures, profound silences, polite rituals, and sharp, humorous remarks. Highlights include a visit from a cool, sly father (Tom Waits) to his ‘normal’ twins (Adam Driver and Mayim Bialik), an unfeeling mother (Charlotte Rampling) hosting her anxious daughters (Cate Blanchett and Vicky Krieps) for tea, and twins (Indya Moore and Luka Sabbat) navigating their grief.
Actor-turned-director Bradley Cooper’s ‘Is This Thing On?’ opens as a family unit is already fracturing. Alex (Will Arnett) and Tess (Laura Dern) seemingly lead a pleasant life in their suburban home with children and pets, but underlying unhappiness soon leads to their separation. The film primarily follows Alex as he channels his emotional turmoil into stand-up comedy. While he acknowledges his lack of comedic prowess, this new endeavor proves remarkably therapeutic, broadening his perspective much as Cooper’s foray into directing may have done for him. At times, the film feels like a hopeful reimagining of Noah Baumbach’s ‘Marriage Story,’ a connection enhanced by Dern’s presence in both.
Noah Baumbach returns to the festival with ‘Jay Kelly,’ a film centering on a movie star — portrayed by none other than George Clooney. Both Baumbach and Clooney are slated to participate in several post-screening Q&A sessions, offering a unique opportunity for audience engagement. Additionally, Baumbach will join Trier for a free public conversation. For a truly special experience, attendees can witness legendary director Martin Scorsese in discussion with Iranian filmmaker Jafar Panahi, who, after years of imprisonment, will make a personal appearance with his Palme d’Or-winning film from Cannes, ‘It Was Just an Accident.’ This acclaimed movie is already a strong contender for many year-end best-of lists.
Founded in 1963, the New York Film Festival has consistently been a cornerstone of the city’s vibrant film culture, its influence only expanding over the decades. Much like other cultural institutions, it has navigated periods of existential questioning, political controversy, religious objections, economic challenges, and internal disagreements. However, it has emerged from the pandemic with a remarkable resurgence, fueled by a surge of new and younger audiences. According to festival artistic director Dennis Lim, almost a third of the 2024 attendees were first-timers. Furthermore, an impressive 62 percent of all festivalgoers were between the ages of 21 and 44 – a demographic vital for any arts organization, particularly one as dependent on its supporters as Film at Lincoln Center.
Dennis Lim, a cultural writer, observed that the pandemic appears to have contributed to the increase in younger festival attendees, who seem keen to leave their homes for communal experiences. He recalled a noticeable shift in 2021, noting via email, ‘I was particularly struck that year by the audience’s youthfulness, and by how many young cinephiles and filmmakers approached me, eager to discuss the films they had just seen.’
Lim also highlighted the fervent enthusiasm surrounding specific filmmakers. Directors like Park Chan-wook and Bi Gan – whose ‘Resurrection,’ a cinematic dreamscape, is featured in the program – receive a rock-star reception, often finding themselves mobbed by fans on Broadway.
These observations by Lim are mirrored across the independent film landscape, from the mobile Criterion Closet and the popular film social platform Letterboxd to the strategies of new distributors specifically engaging this younger demographic, and at various other film festivals and art-house cinemas. A 2024 study by the Art House Convergence, an alliance of independent exhibitors, confirmed that art houses are successfully attracting a younger patron base than their traditional audience. This is vital, considering pre-pandemic fears that the art-house demographic was aging without sufficient regeneration. While it’s uncertain if these young, enthusiastic cinephiles represent a broader new movement, their presence at events like the New York Film Festival is certainly encouraging. It seems a significant portion of film lovers are seeking fresh, innovative cinema, rather than the stale offerings too often recycled by major studios.
Thus, a heartfelt ‘hallelujah’ and congratulations to New York, despite my personal reservations about the opening-night feature, ‘After the Hunt.’ While it’s likely to spark spirited discussions, I anticipate it may even create a generational divide among viewers. Luca Guadagnino’s latest (following his 2024 film ‘Queer’), ‘After the Hunt’ attempts to provoke thought on ‘cancel culture.’ Its intentions are hinted at by opening credits reminiscent of a Woody Allen film. Set within Yale University, the plot revolves around Alma (Julia Roberts, delivering a sharp performance), a philosophy professor with a devoted following whose privileged life unravels after her Black mentee (Ayo Edebiri) alleges sexual assault against a white instructor (Andrew Garfield).
‘After the Hunt’ leverages the serious allegation to generate a lukewarm suspense and sidesteps the complexities of race. The film truly finds its voice only when its older characters vent their frustrations and sometimes rage against ‘kids these days,’ their supposed fragility, and trigger warnings. While the aesthetic is pleasing, the performances are notably less impactful than Guadagnino’s usual standard. Alma and her husband (Michael Stuhlbarg) appear to share an interior designer with Stuhlbarg’s character from ‘Call Me by Your Name,’ hinting at a superficial portrayal. The film’s depiction of intellectual life and academia is shallow, as is its engagement with the #MeToo movement. Given the prior administration’s criticisms of prominent universities, the movie feels unfortunately outmoded. A missed opportunity.
The New York Film Festival takes place from September 26 to October 13. For further details, please visit the official festival website.