Madly prodigious (over 200 productions!) and madly inspired Spanish genre stylist Jesús Franco cast his wife Lina Romay as a female vampire on the prowl. Female vampire…the 1970s…Jesús Franco: Signposts of warning not just of horror ahead but of also of truly plenteous nudity and sex.
We close our series bringing you films from the NYFF’s Projections with this year’s Kazuko Trust Award winner. A provocative Hollywood pitch from an independent Maine filmmaker—told over frozen images of the local landscape—turns into something else: darker, sardonic, self-reflexive and playful.
An unconventional film in a series of unconventional cinema fresh from the NYFF’s Projections section. Ismaïl Bahri’s seemingly simple film—reminiscent of Abbas Kiarostami—is a play of light and color tones and rich in diverse conversation over the meaning of filming, tourism, one’s home, and more.
Fresh from the NYFF’s Projection strand of adventurous cinema is something completely unexpected: a micro-scaled musical about the search for a lost father, shot to look like a 1970s blaxploitation, and founded in the religious and cultural practices of the French island of Réunion. Stunning.
Our next exclusive film fresh from the NYFF’s Projections program is an oblique, observationally rich documentary portrait of Syrian refugees stranded in Turkey. In this limbo a time capsule from the past is heard: President al-Assad trying to reach Reagan on the phone. The impotence of waiting.
Straight from the New York Film Festival, we exclusively bring you some of the best of its adventurous and mind-blowing Projections program. We begin with a micro-sized, giddy celluloid satire of the multiplex logos that play before movie screenings—made extra wry streamed rather than projected!
The Korean War. Nashville’s country music scene. Hollywood. The Wild West. Los Angeles. Studio rebel Robert Altman made his name skewering these mythic American stories in clever, star-studded, circus-like films. Now he travels overseas in this delightful exposé on the French fashion world.
Indie director Ti West followed the success of The House of the Devil with another visit to the American horror cinema of the 1980s. A crafty and fun haunted hotel film film shot for under a million, The Innkeepers is a ghost story that builds slowly, smartly, making much from its limited resources.
Our October is filled with a Rodriguez-Tarantino mash-up, 1970s sleaze, and silent terrors—and also indie surprises, like this week’s double feature of films by Ti West. His name jumped to attention with this thrillingly precise homage to classic American horror like Halloween.
Part two of our Hal Hartley double bill brings us to this highly inventive 2011 effort. Experimental in tone, structure, plotting, and yet ultimately a character piece, Meanwhile is one of the great undiscovered gems of the slacker comedy canon.
Part one of our Hal Hartley double bill, The Book of Life finds the ever experimental indie director fruitfully exploring early digital video to liven this tale of the apocalypse in miniature. Hilarious, sad, and always subversive, it’s is an underrated Hartley work ready for rediscovery.
We’re launching the first online retrospective of award-winning Filipino auteur Lav Diaz! We begin with his greatest epic, 10 years in the making, exploring Philippine nationhood through a family’s expansive saga. Sourced from rare, at times rough materials, we’ll be debuting a new film each month.
Next in our Horrific October series is an under-known British gem—set in the US—featuring an early lead from Viggo Mortensen. One of the few films from poet, playwright, novelist, and musician Philip Ridley, it’s a dark, scintillating take on vampirism, stylishly shot by Mike Leigh’s DP Dick Pope.
We conclude our anticipatory spotlight of the NYFF’s Projections section with director Nicolás Pereda’s beautifully dreamy and enchanting short feature of indolent bohemian languor in Mexico City. “I wanted to make a film about my social class in Mexico,” Pereda explains to us in his introduction.
We’ve long been entranced by the gorgeous, densely woven films of Michael Robinson, which is why we’re pleased to present his latest as part of our spotlight on films from the NYFF’s Projections. Here, Robinson mines TV awards broadcasts and distorts them into a hypnogogic religious ritual.
Next in our exclusive series of NYFF Projections films is a great short by prolific Ohioan independent Kevin Jerome Everson. In the guise of a documentary or ethnographic study, Everson creates a subtly fantastical portrait of the type of Americans and their work that usually goes unseen by cinema.
Continuing our partnership with the New York Film Festival, we’re showing films selected for Projections, a program that expands our notions of what the moving image can do and be. We begin with an exclusive run of UK artist Ben Rivers’ documentary/fiction hybrid neo-Western, shot on gorgeous 16 mm.
Welcome to our Horrific October! We’re highlighting some of our favorite horror films this month, beginning with this darkly comic vampire mix of Robert Rodriguez and Tarantino. A pulpy, gory B-film jacked up by an amazing cast: Clooney, Keitel, Cheech, Hayek, Danny Trejo, Tom Savini and more.
A archetypal tale of faith and temptation is told with in a refreshingly new settling amidst the stunning Himalayas in Indian director Pan Nalin’s debut. Nine years in the making, thie festival favorite balances a tale half of religiousness, half of human pleasures and sorrows with assured aplomb.
Daniel Cockburn’s auspicious debut is one of the smartest and most ambitious of the decade, marking the Canadian video artist as a true emerging talent in cinema. A dazzlingly puzzling exploration of detection and consciousness, its clever approach has drawn comparisons to Borges and “Inception.”
As with his photo work and seen in his alignment with Chris Marker, William Klein’s films are strongly political. In this pre-Kardashians 1970s view of a French Big Brother, Klein uses Alain Resnais’ iconic actor André Dussollier and comedian Anémone to look at the ever-thinning privacy of mankind.
After the muscular Mr. Freedom and bedazzling Broadway by Light, dive now with William Klein in the obscure yet fascinating world of fashion. Among Vogue’s most famous photographers, Klein offers another visually striking satire with one of Alain Resnais’ legendary actresses: Delphine Seyrig.
We continue our journey in William Klein’s cinema with the immersive Broadway by Light. Celebrated for his stills, Klein also built a career of eclectic wonders, including this first film, watched over by Chris Marker and Alain Resnais, bathed in the lights of Manhattan.
Today starts our exciting global series on William Klein: Discover the world-renowned photographer’s films starting with this explosive post-May ‘68 blend of French and U.S. revolutionary spirits, an electric and comic-book-inspired social satire with the best Serge Gainsbourg cameo you’ll ever see.
Not hippies! Yes, hippies: The last Stray Cat Rock film turns the series on its head, transforming its biker gang into homeless hippies. Series mascot Meiko Kaji is here and many familiar faces return, but their roles are scrambled, the film a frenetic jumble of quick shooting and resounding fun.
Sean Penn has directed only a few films, and although his latest got skewered at Cannes, his others are unusually powerful, Hollywood but off-kilter. His first collaboration with Jack Nicholson, starring along with Anjelica Huston, is precisely that: a remarkably observed drama of revenge and guilt.
How else could we end our epic Herzog series except here, on Klaus Kinski’s ultimate ecstasy? One of cinema’s most insane undertakings—the crew literally had to drag a steamboat up a mountain—Herzog’s crowning masterwork is a sweeping ode to mankind’s quest to leave a footprint on an infinite world.
More Buñuel! Shot in brilliant Eastmancolor, Death in the Garden is one of the master’s most overlooked gems, a pulsating far-side-of-the-world adventure film alive with Buñuel’s surrealist gestures and subversive attitude. The star-studded cast includes Simone Signoret and Michel Piccoli.