Listen to this: the place and role of music in NYFF61 biopics Maestro and Priscilla is instructive of the ways in which an artist’s life can only be understood through their work
Purple haze: highlights of the NYFF61 Currents shorts programs make a case for a cinema that turns minimalism and economy into a field for vibrant, unfettered experimentation
Be like water: Víctor Erice’s Close Your Eyes and Kleber Mendonça Filho’s Pictures of Ghosts are love letters to cinema that take very different approaches
Future days: two of the most anticipated films from this year's edition, Bertrand Bonello’s The Beast and Harmony Korine’s AGGRO DR1FT, share a desire to provoke
Out of the fog: the NYFF61 Revivals section features a thematic thread of films about immigration and displacement: Bahram Beyzaie’s The Stranger and the Fog, Tewfik Saleh’s The Dupes, Horace Ové’s Pressure, and more
Imitation of life: Todd Haynes’s latest, which opens this year's NYFF, rips a tale from the tabloid headlines and turns it into a modern melodrama of desire, deception, and delusion
Signs of the times: the most useful films for this moment of labor unrest in the film industry are those made in close connection with the workers on the front lines
Speechless: in her overview of silent film festivals around the world, scholar Maggie Hennefeld describes fragments of lost worlds revived, offering jolts of existential promise
Through the looking glass: Greta Gerwig’s Barbie is something smarter than girlboss fantasy or canny corporate sellout—it’s a grappling, rather, with the fundamental ways in which we represent and relate to reality
Cool heads prevail: this year’s edition—especially since a recent turn to collective curation—took a typically protean approach, yielding some audaciously uncategorizable and hybrid works
