Boo: premised on illusion and promising endless reanimation, cinema is often called the ghostliest of mediums, haunted by phantoms since its beginnings
Shutter speed: a new series at the Museum of Modern Art showcases a staggering range of Iranian films made before the revolution of 1979, including including films by Bahram Beyzaie, Amir Naderi, and Masoud Kimiai
Through the lens: Martin Scorsese’s Killers of the Flower Moon explores an overlooked chapter of American history, and intervenes in film history itself, especially as it pertains to representations of Native peoples
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
Love in the afternoon: the French filmmaker discusses her return to cinema, the productive tension between realism and expressionism, the art of the sex scene, and much more
Office culture: director Rodrigo Moreno discusses his NYFF61 standout, a matryoshka doll of a movie, crackling with dry humor, about the drudgery of office work
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
Earth and sky: the director and cinematographer behind the NYFF61 standout discuss their poetic, evocative portrait of a young woman whose story is inextricably linked to a sense of community and place
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
