2026年9月25日 / 美国东部时间下午5:40 / 哥伦比亚广播公司新闻
作者：大卫·摩根
第64届纽约电影节作为全球最负盛名的电影盛事之一，将于本周五开幕。届时将有70余部剧情长片和纪录片进行全球首映或美国首映，参演阵容包括佩德罗·帕斯卡、亚当·德赖弗、斯嘉丽·约翰逊、朱丽安·摩尔以及哥斯拉。
本届电影节将持续至10月12日，在纽约市五个行政区的影院举办放映活动，展映单元包括短片单元、修复影片展映以及导演座谈会。
以下是部分将在未来几个月院线上映或流媒体上线前，率先与观众见面的最值得关注、也最引人入胜的影片。
纪录片
纽约电影节的纪录片单元包含以下作品：聚焦Theranos骗局定罪者伊丽莎白·霍姆斯的《你能看到一切》；讲述乌克兰遭俄罗斯入侵后流亡的年轻记者的《我不受欢迎的朋友们：第二部——流亡》；埃莉诺·科波拉与女儿、导演索菲亚·科波拉联合创作的《打造玛丽·安托瓦内特》；以及讲述摩洛哥骑手的《巴尔迪》。 纽约电影节；A24；Cinetic；Mubi
今年的展映名单中不乏热度极高的非虚构影片。在本月初特柳赖德电影节上全球首映时便引发惊喜的《你能看到一切》中，内森·菲尔德（代表作《乔纳森为你服务》《彩排》）在因欺诈被判11年监禁的伊丽莎白·霍姆斯及其伴侣入狱前的日子里，住进了他们家中。他与联合导演兰斯·奥本海姆一同与霍姆斯对话，试图揭示她的作案动机。（纽约首映；9月30日）
朱莉娅·洛克特夫的《我不受欢迎的朋友们：第二部——流亡》是其2024年广受好评的纪实作品续作，原片记录了莫斯科独立媒体对普京政权的报道。本片讲述记者们在俄罗斯入侵乌克兰后被迫流亡，以及克里姆林宫加强对战争报道审查和逮捕的故事。（纽约首映；9月27日）
最受期待的影片之一是《NAZA》（北美首映；9月26日、27日）。该片导演表示，他们采访了数十名以色列军方和情报部门内部人士，这些人士称系统性使用人工智能靶向武器导致了加沙巴勒斯坦人面临潜在的人权侵犯。片名“NAZA”指附带损伤，影片由尤瓦尔·亚伯拉罕和蕾切尔·索尔执导（后者的前作《别无他土》曾获奥斯卡奖）。这部在威尼斯电影节斩获评审团特别奖的影片遭到以色列政府的广泛批评，以方在一份声明中称“坚决拒绝”相关指控，并对影片使用匿名消息源表示担忧。以色列国防军此前多次否认其故意在巴勒斯坦领土袭击平民的指控。针对《NAZA》，以色列文化部长还呼吁剥夺两位以色列导演的公民身份。
艾娃·杜韦尔内的《第14修正案》是其2016年纪录片《第13修正案》的续作，前者探讨了第13修正案对大规模监禁的影响，本片则审视了如今第14修正案中公民权与正当程序保护以及防范叛乱的保障条款正受到攻击的现状。（全球首映；10月9日、11日）
《打造玛丽·安托瓦内特》是埃莉诺·科波拉在拍摄女儿索菲亚·科波拉2006年古装剧情片期间拍摄的视频日记，埃莉诺于2024年去世后，由索菲亚完成了影片制作。黛安·莲恩担任影片旁白。（纽约首映；9月29日、30日，10月1日、11日）
保罗·托马斯·安德森（凭借去年的《一场接一场的战斗》斩获奥斯卡奖）用16毫米和35毫米胶片拍摄了音乐纪录片《卡梅伦·温特在卡内基音乐厅》，片中布鲁克林音乐人、Geese乐队主唱在这座全球最负盛名的音乐厅举办了不插电演出。影片将于10月1日、2日、9日首映，随后将在美国各地“巡演”展映。
乔纳森·格雷泽（代表作《利益区域》）邀请伦敦小学生拍摄了艾比路录音室的录制过程，相关素材将用于一张慈善专辑，以帮助冲突地区的儿童。《欢乐之源》将这些年轻记录者的作品与加沙、苏丹、乌克兰和也门的年轻人的记录并置，后者同样被分发相机以记录自己的生活。（全球首映；9月30日，10月1日、2日、12日）
其他纪录片的主题涵盖巴黎国立盲人青年艺术学院的学生艺术家（《献给月亮》，全球首映；10月6日、7日）；塔拉·哈迪德的《巴尔迪》（全球首映；10月1日、2日、4日），记录了摩洛哥中部骑手的生活；以及安娜·瓦斯的视觉随笔《花火》（北美首映；10月8日、9日），探讨影响日本的自然和人为生态灾难。
人物传记纪录片包括《爱德华·赛义德：介于两个世界之间》，讲述已故巴勒斯坦裔美国教授和作家（美国首映；9月30日，10月1日、2日）；以及阿根廷导演马里亚诺·利纳斯的《豪尔赫·路易斯·博尔赫斯传》，探索这位阿根廷作家及其对政治和文化的影响（美国首映；9月26日、28日）。
在《哈莱姆往事》中，大卫·格里夫斯完成了父亲威廉1972年开始拍摄的纪录片，该片记录了哈莱姆文艺复兴时期的在世从业者。（纽约首映；9月29日、30日，10月4日）
全球首映
佩德罗·帕斯卡在托尼·吉尔罗伊的《巨兽！》中饰演一名大提琴手；安德鲁·加菲尔德和尤拉·鲍里索夫在《人工智能》中饰演人工智能领域的风云人物；怪兽之王在《哥斯拉-零》中回归。 纽约电影节；探照灯影业；霓虹影业；GKIDS
本届电影节的剧情长片全球首映作品包括《巨兽！》，佩德罗·帕斯卡饰演一名前神童、管弦乐队大提琴手，他以录制好莱坞电影配乐的 session 乐手身份谋生，试图理顺支离破碎的人生。该片由编剧兼导演托尼·吉尔罗伊（代表作《迈克尔·克莱顿》《安多》）执导。（10月2日、3日、6日、7日、9日、11日）
在《人工智能》中，导演卢卡·瓜达尼诺（代表作《请以你的名字呼唤我》带来一部喜剧剧情片，聚焦蓬勃发展的人工智能行业，故事从出生于苏联的计算机科学家伊利亚·苏茨克弗在加拿大跟随杰弗里·辛顿学习开始，到十年后他与共同创立OpenAI的山姆·奥特曼相遇。主演包括安德鲁·加菲尔德、马克·里朗斯、尤拉·鲍里索夫和莫妮卡·巴巴罗，剧本由《周六夜现场》编剧西蒙·里奇创作。（10月5日、6日）
曾凭借《聚焦》斩获奥斯卡奖的汤姆·麦卡锡带来《声明》，影片重现了1980年一次环保活动家、政策制定者和科学家的会议，他们试图就日益严峻的气候变化数据达成共识。演员阵容包括保罗·吉亚玛提、伊万·彼得斯、保罗·路德、艾米·瑞恩和约翰·特托罗。（10月3日、4日、6日、11日）
而巨型怪兽《哥斯拉-零》由高木琢真执导，将于9月26日登陆爱丽丝·塔利音乐厅。
美国及纽约首映
本届电影节的开幕夜首映影片是詹姆斯·格雷的惊悚片《纸老虎》，这是一部充满张力的熟悉题材剧情片（半自传作品），亚当·德赖弗、迈尔斯·特勒和斯嘉丽·约翰逊主演，讲述一名前纽约警局街头警察与俄罗斯黑手党勾结，而他的兄弟则带着天真的特质卷入俄罗斯黑帮纷争的故事。（北美首映；9月25日）
曾凭借《坠落的审判》获奥斯卡提名的桑德拉·惠勒将在两部纽约首映作品中担任主角：《玫瑰》，她凭借该片获得柏林国际电影节最佳女演员奖，饰演一名在17世纪德国女扮男装赢得独立的女性，这段伪装让她从战场走向包办婚姻。（9月26日、27日，10月1日、4日）；以及《祖国》，她饰演德国著名小说家托马斯·曼的女儿，陪同父亲在二战后回到德国，当时人们对可疑忠诚度的怨恨仍未消散。该片由帕维乌·帕夫利科夫斯基（代表作《冷战》《修女艾达》）执导，他本人曾获戛纳电影节最佳导演奖。（10月4日、5日、6日、7日）
克里斯蒂安·蒙吉（代表作《四月三周两天》）凭借今年的作品《峡湾》斩获戛纳电影节最高奖项，影片讲述塞巴斯蒂安·斯坦和蕾娜特·莱因斯维饰演的五旬节派罗马尼亚移民在挪威被怀疑虐待子女的故事。（美国首映；10月4日、5日、7日）
由喜剧演员克里斯·洛克执导的《迷雾格林》（美国首映；9月26日、27日、30日，10月2日、4日）由罗莎琳德·埃莱扎尔（代表作《流人》）饰演一名女演员，她试图在充满敌意的好莱坞重新获得工作和尊严。演员阵容还包括亚当·德赖弗、丹尼尔·卡卢亚、安娜·肯德里克、安东尼·安德森，以及饰演一名可能是米斯蒂复出关键的导演的洛克本人。
众多国际导演携最新作品亮相纽约电影节。沃纳·赫尔佐格曾以《陆上行舟》作为1982年本届电影节的闭幕影片，此次他带来《暴躁蠢货》，凯特·玛拉和鲁妮·玛拉饰演一对姐妹，她们的生活紧密交织，说话（以及几乎所有事情）都同步进行。（9月30日，10月8日、10日、12日）
（从左上角顺时针依次为：亚当·德赖弗在《纸老虎》中；朱丽安·摩尔在《首演》中；桑德拉·惠勒在《玫瑰》中；罗莎琳德·埃莱扎尔在《迷雾格林》中；凯特·玛拉与鲁妮·玛拉在《暴躁蠢货》中；以及动画影片《铁男孩》。 霓虹影业；A24；Mubi；索尼经典影业；纽约电影节）
在这部如同套娃般的影片中，佩德罗·阿莫多瓦的《苦涩圣诞节》由巴巴拉·莱涅饰演一名女演员兼导演，她根据自己的朋友创作剧本，而她本人也是另一位导演虚构出来的角色。（美国首映；10月6日、7日、8日、10日、12日）
迈克·李的《温柔呵护》是一部充满情感与幽默的肖像画，讲述英国人在脱欧后如何应对生活。（9月28日、29日，10月6日、8日、12日）
凭借《驾驶我的车》斩获奥斯卡奖的滨口龙介带来《突如其来》，巴黎一家养老院的新主管与一位日本戏剧导演合作，推出全新的护理项目。维吉妮·艾菲拉和桃井薰共同斩获戛纳电影节最佳女演员奖。（美国首映；10月1日、2日、4日、9日）
尼古拉斯·佩雷达的荒诞喜剧《其余皆为杂音》（美国首映；9月26日、27日，10月4日、5日）讲述一个音乐家庭向电视摄制组开放家门的故事。
皮克斯资深导演路易斯·克里希带来《铁男孩》（9月26日、28日），这是一部以法国乡村为背景的动画成长故事，曾获戛纳电影节一种关注单元评审团特别奖。
朱丽安·摩尔饰演一名郊区家庭主妇和母亲，她通过参加社区剧院试镜打破日常，获得了一个无人问津的角色，这部影片是编剧兼导演杰西·艾森伯格（代表作《真正的痛苦》）的最新喜剧作品《首演》，保罗·吉亚玛提也参演其中。（纽约首映；10月7日、8日、10日）
在流亡俄罗斯导演安德烈·兹维亚金采夫（代表作《利维坦》）的暗黑幽默政治惊悚片《牛头人》中，一名怀疑妻子不忠的俄罗斯商人接到任务，挑选他的哪些员工将被征召参加乌克兰战争。该片改编自克劳德·夏布洛尔的《不忠的妻子》，曾获戛纳电影节评审团大奖。（纽约首映；10月3日、5日、8日）
在埃马纽埃尔·玛尔的《属于他的时代》中，斯万·阿劳德（代表作《坠落的审判》）饰演维希法国的一名官僚，他逐渐认清政府与纳粹的合作行径。该片获戛纳电影节最佳编剧奖。（北美首映；10月6日、7日、10日）
喜剧片《俱乐部小子》中，导演乔纳森·弗斯特曼饰演彼得，一名同性恋俱乐部经理，当一名少年找上门来，他才得知自己在十年前有了一个孩子。（纽约首映；10月3日、4日、5日、7日、12日）
阿里和丘科·埃塞里的《克拉丽莎》将弗吉尼亚·伍尔夫的《达洛维夫人》改编到现代尼日利亚。（美国首映；10月4日、5日、7日、10日）在法国塞内加尔导演阿兰·戈米斯的《道》中，影片交叉剪辑巴黎的一场婚礼和几内亚比绍的一场追悼会。（北美首映；10月4日、5日、6日、11日）
在瓦莱斯卡·格里斯巴赫的《梦幻冒险》中，保加利亚的一名考古学家挖掘线索，寻找失踪的前男友的下落。该片获戛纳电影节评审团奖。（美国首映；10月5日、7日、8日、10日）
奥地利导演桑德拉·沃尔纳在《每时每刻》中探讨了柏林一个家庭遭遇可怕事故后成员们的悲伤情绪。（美国首映；9月29日、30日，10月3日、6日、8日、11日）
在导演、编剧兼摄影师玛丽娜·阿特兰的长片处女作《格拉迪瓦》中，一名教师带领一群法国高中生前往意大利旅行，旅程带来了颠覆性的结果。（美国首映；9月27日、28日、29日，10月9日、12日）
《镇上最孤独的人》是一部半纪录半剧情片，奥地利蓝调音乐人阿尔·库克饰演他本人，一名奥地利蓝调音乐人。（北美首映；10月1日、2日、11日）
塔利·梅德尔饰演一名神经质的社工，试图解决自己过去难以启齿的问题，该片出自丹·萨利特之手《无法提及之事》（全球首映；10月3日、4日、5日、6日、12日）。
修复影片展映
珍妮弗·琼斯出演的鲍威尔-普雷斯伯格影片《奔向远方》；瓦妮莎·雷德格瑞夫出演肯·罗素的《恶魔》；亚历山德拉·克卢格出演《昨日女孩》。 纽约电影节；华特迪士尼公司；华纳兄弟发条厂
英国导演肯·罗素如往常一样，凭借其充满政治色彩的1971年影片《恶魔》引发争议。该片改编自奥尔德斯·赫胥黎的小说，背景设定在17世纪的法国，讲述一名被控异端的好色神父和一群看似被恶魔附身的修女。瓦妮莎·雷德格瑞夫和奥列佛·里德献上了充满力量的表演，德里克·贾曼的场景设计堪称绝妙，但影片在英美两国的原版发行时遭到审查。如今，罗素的剪辑版本已从原始底片修复完成，将以35毫米胶片形式展映。（9月26日）
迈克尔·鲍威尔和埃默里克·普雷斯伯格1950年的彩色特艺色剧情片《奔向远方》由珍妮弗·琼斯主演，制片人大卫·O·塞尔兹尼克曾对其进行大幅删减，并以另一个标题发行。该片现已由马丁·斯科塞斯和鲍威尔的遗孀塞尔玛·斯库梅克修复。（10月3日、4日、6日、10日）
本届电影节还展映以下修复影片：法国导演宝拉·德尔索尔1964年的新浪潮影片《漂流》，讲述一名女性与一系列男性相遇的故事，由杰奎琳·凡达尔主演（9月26日、27日，10月1日）；亚历山大·克卢格1966年的激进剧情片《昨日女孩》，由他的妹妹亚历山德拉饰演一名东德年轻女性移居西德后的生活（9月28日，10月4日、5日）；芭芭拉·哈默1992年具有开创性的纪录片《硝酸胶片之吻》，探讨电影中同性恋者的形象以及酷儿电影的兴起（10月3日、5日）；以及卢奇诺·维斯康蒂1976年的最后一部影片《无辜者》，由劳拉·安托内利、吉安卡罗·吉安尼尼和詹妮弗·奥尼尔主演，这部古装片讲述了一个充斥着婚外情的贵族阶层故事。（10月3日、6日、7日、9日）
座谈会与圆桌会议
与导演的对话活动包括：詹姆斯·格雷和吉姆·贾木许（9月26日）；迈克·李（9月29日）；克莱贝尔·门多萨·菲略（10月2日）；滨口龙介（10月3日）；佩德罗·阿莫多瓦和索菲亚·科波拉（10月5日）；以及艾娃·杜韦尔内（10月8日）。
请访问纽约电影节官网，了解更多关于影片展映名单、短片单元、放映日程、免费座谈会以及票务（包括加急票和候补票）的信息。
The New York Film Festival returns with films about obsession, deception and monsters. Here’s a preview.
September 25, 2026 / 5:40 PM EDT / CBS News
By David Morgan
The 64th New York Film Festival, one of the world’s most prestigious cinema events, opens Friday with the first of more than 70 fiction features and documentaries making their world or U.S. premieres, starring such luminaries as Pedro Pascal, Adam Driver, Scarlett Johansson, Julianne Moore, and Godzilla.
This year’s festival, which runs through October 12, showcases short film programs, revivals, and filmmaker talks, in screenings held in all five of the city’s boroughs.
The following are some of the most notable and intriguing films making their bows before opening in theaters or streaming in the coming months.
Documentaries
Documentaries at the New York Film Festival include “You Can See Everything,” about convicted Theranos fraudster Elizabeth Holmes; “My Undesirable Friends: Part II – Exile,” about young journalists fleeing Russia after Putin’s invasion of Ukraine; “Making Marie Antoinette,” jointly created by Eleanor Coppola and her daughter, director Sofia Coppola; and “Bardi,” about horse riders in Morocco. New York Film Festival; A24; Cinetic; Mubi
This year’s lineup includes non-fiction films with a lot of buzz. In “You Can See Everything,” whose world premiere was a surprise at the Telluride Film Festival earlier this month, Nathan Fielder (“Nathan for You,” “The Rehearsal”) moved into the home of disgraced Theranos founder Elizabeth Holmes and her partner in the days prior to the start of Holmes’ 11-year prison sentence for fraud. With co-director Lance Oppenheim, Fielder engaged in conversations with Holmes aimed at revealing her motivations. (N.Y. premiere; Sept. 30).
Julia Loktev’s “My Undesirable Friends: Part II – Exile,” a sequel to her acclaimed 2024 fly-on-the-wall account of independent media in Moscow reporting on the Putin regime, follows journalists as they are forced into exile after Russia’s invasion of Ukraine, and the Kremlin’s ramped-up censorship and arrests over reporting on the war. (N.Y. premiere; Sept. 27.)
Among the most anticipated is “NAZA” (North American premiere; Sept. 26, 27), in which its directors said they spoke with dozens of sources inside the Israeli military and intelligence services who allege that the systematic use of AI-powered targeting contributed to potential human rights abuses against Palestinians in Gaza. “NAZA,” whose title refers to collateral damage, was directed by Yuval Abraham and Rachel Szor (whose previous film “No Other Land” won the Academy Award). The film, which won the Special Jury Prize at the Venice Film Festival, has been widely criticized by the Israeli government, which said in a statement that it “categorically rejects” the allegations and raised concerns about the film’s use of anonymous sources. The Israel Defense Forces has repeatedly denied allegations that it intentionally targets civilians in Palestinian territories. In response to “NAZA,” Israel’s culture minister has also called for revoking the citizenship of the two Israeli directors.
A follow-up to her 2016 documentary “13th” about the ramifications of the 13th Amendment on mass incarceration, “14th,” by Ava DuVernay, examines how the 14th Amendment’s protections of citizenship and due process, as well as safeguards against insurrection, are under attack today (World premiere; Oct. 9, 11).
“Making Marie Antoinette,” a video diary shot by Eleanor Coppola during the making of daughter Sofia Coppola’s 2006 period drama, was completed by Sofia after Eleanor died in 2024. It is narrated by Diane Lane. (N.Y. premiere; Sept. 29, 30, Oct. 1, 11.)
Paul Thomas Anderson (an Oscar winner for last year’s “One Battle After Another”) shot the music documentary “Cameron Winter at Carnegie Hall” on 16mm and 35mm, in which the Brooklyn musician and frontman of Geese performed an acoustic set on the world’s most famous concert stage. The film debuts Oct. 1, 2 and 9, before going “on tour” across the U.S.
Jonathan Glazer (“The Zone of Interest”) enlisted London schoolchildren to shoot video of recording sessions at Abbey Road Studios for a charity album created to aid children in conflict zones. “Joy of Joys” parallels the young documentarians’ output with that of young people in Gaza, Sudan, Ukraine and Yemen who were similarly handed cameras to document their lives. (World premiere; Sept. 30, Oct. 1, 2, 12.)
Other documentaries range in topics from student artists at the National Institute for Blind Youth in Paris (“For the Moon,” world premiere;Oct. 6, 7), to Tala Hadid’s “Bardi” (world premiere; Oct. 1, 2, 4), which captures the lives of equestrians in central Morocco; to “Hanabi” (North American premiere; Oct. 8, 9), Ana Vaz’s visual essay about ecological disasters – natural and manmade – affecting Japan.
Profiles include “Edward Said: Between Worlds,” about the late Palestinian American professor and writer (U.S. premiere; Sept. 30, Oct. 1, 2); and Argentinean filmmaker Mariano Llinás’ “Life of Jorge Luis Borges,” which explores the Argentine writer and his impact on politics and culture (U.S. premiere; Sept. 26, 28).
In “Once Upon a Time in Harlem,” David Greaves completes the film his father William had begun in 1972, to document the living practitioners of the Harlem Renaissance (N.Y. premiere; Sept. 29, 30, Oct. 4).
World premieres
Pedro Pascal plays a cellist in Tony Gilroy’s “Behemoth!”; Andrew Garfield and Yura Borisov star as movers-and-shakers in the world of artificial intelligence in “Artificial”; and the King of the Monsters returns in “Godzilla Minus Zero.” New York Film Festival; Searchlight Pictures; Neon; GKIDS
Among the festival’s fiction films making their world premieres is “Behemoth!” starring Pedro Pascal as a former child prodigy and orchestral cellist trying to resolve his fractured life while working as a session player recording Hollywood film scores. From writer-director Tony Gilroy (“Michael Clayton,” “Andor”) (Oct. 2, 3, 6, 7, 9, 11).
In “Artificial,” director Luca Guadagnino (“Call Me By Your Name”) presents a comic-drama about the burgeoning artificial intelligence industry, from Soviet-born computer scientist Ilya Sutskever’s studies in Canada under Geoffrey Hinton, to his encounter a decade later with Sam Altman, who would co-found OpenAI. Starring Andrew Garfield, Mark Rylance, Yura Borisov, and Monica Barbaro, with a screenplay by “SNL” writer Simon Rich. (Oct. 5, 6.)
Tom McCarthy, director of the Oscar-winning “Spotlight,” presents “A Statement,” which recreates a 1980 meeting of environmental activists, policy makers and scientists trying to reach a consensus on the increasingly alarming data about climate change. The cast includes Paul Giamatti, Evan Peters, Paul Rudd, Amy Ryan and John Turturro. (Oct. 3, 4, 6, 11.)
And the gargantuan “Godzilla Minus Zero,” from director Takashi Yamazaki, stomps into Alice Tully Hall on Sept. 26.
U.S. and N.Y. premieres
The festival’s gala opening night feature is James Gray’s thriller “Paper Tiger,” a potent familiar drama (and one that is semi-autobiographical) starring Adam Driver, Miles Teller and Scarlett Johansson, about a former NYPD street cop who has hooked up with the Russian mob, and a brother who brings the unhelpful trait of naïveté to Russian gangsters (North American premiere; Sept. 25).
Sandra Hüller, an Oscar nominee for “Anatomy of a Fall,” stars in two New York premieres: “Rose,” for which she won best actress at the Berlin International Film Festival, playing a woman who garnered independence for herself in 17th-century Germany by disguising herself as a man – a ruse that took her from the battlefield to an arranged marriage (Sept. 26, 27, Oct. 1, 4); and “Fatherland,” as the daughter of famed German novelist Thomas Mann, who accompanies her father on a return to Germany after World War II, where the acrimony about questionable allegiances is still fresh. Directed by Paweł Pawlikowski (“Cold War,” “Ida”), who earned the best director prize at Cannes (Oct. 4, 5, 6, 7).
Cristian Mungiu (“4 Months, 3 Weeks and 2 Days”) won the top prize at Cannes this year with his film “Fjord,” starring Sebastian Stan and Renate Reinsve as Pentecostal Romanian immigrants in Norway who fall under suspicion of abusing their children (U.S. premiere; Oct. 4, 5, 7).
Directed by comedian Chris Rock, “Misty Green” (U.S. premiere; Sept. 26, 27, 30, Oct. 2, 4) stars Rosalind Eleazar (“Slow Horses”) as an actress trying to regain both employment and dignity in a hostile Hollywood. The cast also includes Adam Driver, Daniel Kaluuya, Anna Kendrick, Anthony Anderson, and Rock as a director who may be the key to Misty’s way back.
Many international filmmakers are bringing their latest works to New York. Werner Herzog, whose “Fitzcarraldo” closed the 1982 festival, bows “Bucking Fastard,” starring Kate and Rooney Mara as sisters whose individual lives are so intertwined they speak (and do pretty much everything else) in unison. (Sept. 30, Oct. 8, 10, 12.)
Clockwise from top left: Adam Driver in “Paper Tiger”; Julianne Moore in “The Debut”; Sandra Hüller in “Rose”; Rosalind Eleazar in “Misty Green”; Rooney and Kate Mara in “Bucking Fastard”; and the animated “Iron Boy.” Neon; A24; Mubi; Sony Pictures Classics; New York Film Festival
In a matryoshka doll of a film, Pedro Almodóvar’s “Bitter Christmas” stars Barbara Lennie as an actress and director writing a screenplay inspired by her friends – and who herself is a fictional creation by another filmmaker (U.S. premiere; Oct. 6, 7, 8, 10, 12).
Mike Leigh’s “Tender Loving Care” is an emotional and humorous portrait of Brits navigating their lives post-Brexit (Sept. 28, 29, Oct. 6, 8, 12).
Ryûsuke Hamaguchi, director of the Oscar-winning “Drive My Car,” returns with “All of a Sudden,” in which the new director of a facility for the elderly in Paris teams up with a theater director from Japan to introduce a new program of care. Virginie Efira and Tao Okamoto shared the best actress award at Cannes (U.S. premiere; Oct. 1, 2, 4, 9).
Nicolás Pereda’s absurdist comedy “Everything Else Is Noise” (U.S. premiere; Sept. 26, 27, Oct. 4, 5), is about a family of musicians who open their home to a TV camera crew.
From Pixar veteran Louis Clichy comes “Iron Boy” (Sept. 26, 28), an animated coming-of-age tale set in rural France, which won the Un Certain Regard Special Jury Prize at Cannes.
Julianne Moore is a suburban housewife and mother who breaks out of her routine by auditioning for a community theater production, nabbing a role no one else wants, in “The Debut,” the latest comedy from writer-director Jesse Eisenberg (“A Real Pain”), with Paul Giamatti. (N.Y. premiere; Oct. 7, 8, 10).
In the darkly humorous political thriller “Minotaur,” by exiled Russian filmmaker Andrey Zvyagintsev (“Leviathan”), a Russian businessman who suspects his wife has been unfaithful is tasked with choosing which of his employees are to be drafted to fight in the Ukraine war. Adapted from Claude Chabrol’s “La Femme infidèle,” “Minotaur” won the Grand Prix at Cannes (N.Y. premiere; Oct. 3, 5, 8).
In Emmanuel Marre’s “A Man of His Time,” Swann Arlaud (“Anatomy of a Fall”) stars as a bureaucrat in Vichy France whose eyes are opened about his government’s collaboration with the Nazis. Winner of best screenplay at the Cannes Film Festival (North American premiere; Oct. 6, 7, 10).
In the comedy “Club Kid,” director Jonathan Firstman stars as Peter, a gay club promoter who learns he’d actually fathered a child 10 years earlier, when the young lad shows up on his doorstep (N.Y. premiere; Oct. 3, 4, 5, 7, 12).
Arie and Chuko Esiri’s “Clarissa” adapts Virginia Woolf’s “Mrs. Dalloway” to present-day Nigeria (U.S. premiere; Oct. 4, 5, 7, 10). In “Dao,” French Senegalese filmmaker Alain Gomis intercuts between a wedding in Paris and a memorial in Guinea-Bissau (North American premiere; Oct. 4, 5, 6, 11).
In Valeska Grisebach’s “The Dreamed Adventure,” an archaeologist in Bulgaria digs for answers surrounding her missing former lover. Winner of the Cannes Jury Prize (U.S. premiere; Oct. 5, 7, 8, 10).
Austrian director Sandra Wollner explores dimensions of grief after a Berlin family is affected by a horrific accident in “Everytime” (U.S. premiere; Sept. 29, 30, Oct. 3, 6, 8, 11).
In director-writer-cinematographer Marine Atlan’s feature debut, a teacher leads a cohort of French high school students on a trip to Italy, with revelatory consequences, in “La Gradiva” (U.S. premiere; Sept. 27, 28, 29, Oct. 9, 12).
A quasi-documentary/fiction film, “The Loneliest Man in Town” features Austrian blues musician Al Cook playing Al Cook, an Austrian blues musician. (North American premiere; Oct. 1, 2, 11).
Tallie Medel plays a neurotic social worker trying to resolve her own unspeakable issues of the past in Dan Sallitt’s “What Can’t Be Mentioned” (World premiere; Oct. 3, 4, 5, 6, 12).
Revivals and restorations
Jennifer Jones in the Powell-Pressburger film “Gone to Earth”; Vanessa Redgrave in Ken Russell’s “The Devils”; and Alexandra Kluge in “Yesterday Girl.” New York Film Festival; Walt Disney Company; Warner Brothers Clockwork
British director Ken Russell, as was his habit, courted controversy with his profoundly political 1971 film “The Devils,” based on the Aldous Huxley novel and set in 17th century France, about a libidinous priest charged with heresy and an order of nuns seemingly possessed by demons. Vanessa Redgrave and Oliver Reed gave gutsy performances, and Derek Jarman’s sets are superb, but the film was censored in its original release, in both the U.S. and U.K. Now, Russell’s cut has been restored from the original negatives, and is being screened in 35mm (Sept. 26).
Michael Powell and Emeric Pressburger’s 1950 Technicolor drama “Gone to Earth,” starring Jennifer Jones, which was drastically cut by producer David O. Selznick before releasing it under a different title, has been restored by Martin Scorsese and Powell’s widow, Thelma Schoonmaker (Oct. 3, 4, 6, 10).
The festival features revivals of “The Drift,” French director Paula Delsol’s 1964 New Wave feature about a woman’s encounters with a string of men, starring Jacqueline Vandal (Sept. 26, 27, Oct. 1); “Yesterday Girl,” Alexander Kluge’s radical 1966 drama of a young East German woman (played by his sister Alexandra) transitioning to life in West Germany (Sept. 28, Oct. 4, 5); and Barbara Hammer’s provocative 1992 documentary, “Nitrate Kisses,” which explores representations of homosexuals in films and the emergence of queer cinema (Oct. 3, 5); and from 1976, Luchino Visconti’s final film, “L’innocente,” starring Laura Antonelli, Giancarlo Giannini and Jennifer O’Neill, in a period film about an aristocracy riven with marital affairs (Oct. 3, 6, 7, 9).
Talks and roundtables
Conversations with filmmakers include talks with James Gray and Jim Jarmusch (Sept. 26); Mike Leigh (Sept. 29); Kleber Mendonça Filho (Oct. 2); Ryûsuke Hamaguchi (Oct. 3); Pedro Almodovar and Sofia Coppola (Oct. 5); and Ava DuVernay (Oct. 8).
Visit the New York Film Festival website for more information on the lineup of films, short film programs, screening schedules, free talks, and ticket availability (including rush and standby tickets).
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