This richly textured epic of American crime, a dense, complex story told with astonishing fluidity, stars Joe Pesci as Pennsylvania mob boss Russell Bufalino; Al Pacino as Teamsters president Jimmy Hoffa; and Robert De Niro as their right-hand man, Frank Sheeran, each working in the closest harmony imaginable with the film’s incomparable creator, Martin Scorsese.

Noah Baumbach’s new film is about the rapid tangling and gradual untangling of impetuosity, resentment, and abiding love between a married couple—played by Adam Driver and Scarlett Johannson—negotiating their divorce and the custody of their son. It’s as harrowing as it is hilarious as it is deeply moving.

Writer-director-producer Edward Norton has transplanted the main character of Jonathan Lethem’s best-selling novel Motherless Brooklyn from modern Brooklyn into an entirely new, richly woven neo-noir narrative: a multilayered conspiracy that expands to encompass the city’s ever-growing racial divide, set in 1950s New York.

Winner of the Grand Prix at this year’s Cannes Film Festival, Mati Diop’s gripping, hallucinatory Senegal-set drama skirts the line between realism and fantasy, romance and horror, and, in its crystalline empathy, humanity, and political outrage, confirms the arrival of a major talent.

In this wild shape-shifter, a vibrant, richly diverse backcountry Brazilian town finds its sun-dappled day-to-day disturbed when its inhabitants become the targets of a group of armed mercenaries. Bacurau is a vividly angry power-to-the-people fable like no other.

In this richly burnished, occasionally harrowing rendering of the persistent scars of war, two women, Iya and Masha (astonishing newcomers Viktoria Miroshnichenko and Vasilisa Perelygina), attempt to readjust to a haunted post-WWII Leningrad.

The beauties and terrors of nature—human and otherwise—drive the extraordinary, elemental new film from Oliver Laxe, in which the verdant Galician landscape becomes the setting for the powerful story of Amador, who has recently served time in prison for arson and has come home to live with his elderly mother.

Kelly Reichardt once again trains her perceptive and patient eye on the Pacific Northwest, this time evoking an authentically hardscrabble early 19th-century way of life for this tale of a taciturn loner and skilled cook (John Magaro) who has joined a group of fur trappers in Oregon Territory, but only finds true connection with a Chinese immigrant (Orion Lee) also seeking his fortune.

Middle-aged Ichiko—played by the extraordinary Mariko Tsutsui—works as a private nurse in a small town for a family; when one of the girls disappears, Ichiko gets caught up in the resulting media sensation in increasingly surprising and devastating ways. Tsutsui and director Koji Fukada have created one of the most memorable, enigmatic movie protagonists in years.

An elliptical yet emotionally lucid variation on the domestic drama, Schanelec’s latest film—which won her the Best Director prize at the 2018 Berlinale—intricately navigates the psychological contours of a Berlin family in crisis.

In the 18th century, somewhere deep in a forest clearing, a group of bewigged libertines engage in a series of pansexual games of pain, torture, humiliation, and other dissolute, Sadean pleasures. Catalan filmmaker Albert Serra’s latest is easily his most provocative yet.

In this enveloping adaptation of a Jack London novel, Martin Eden is a dissatisfied prole with artistic aspirations who hopes that his dreams of becoming a writer will help him rise above his station and marry a wealthy young university student.

Leading light of contemporary Uruguayan cinema Federico Veiroj’s new film is his most ambitious, political, and forceful yet, starring Daniel Hendler as Humberto Brause, who takes advantage of Uruguay’s poor economy by specializing in shady offshore investing.

Arnaud Desplechin shows a different and no less impressive side of his mastery with this taut policier, based on a true murder case in his hometown of Roubaix, where, during a somber Christmas season, a French-Algerian detective is investigating the fatal strangulation of a poor, elderly woman in her apartment, with suspicion falling on her next-door neighbors.

Pedro Almodóvar taps into new reservoirs of introspection and emotional warmth with this miraculous, internalized portrayal of Salvador Mallo, a director not too subtly modeled on Almodóvar himself and played by Antonio Banderas, who deservedly won Best Actor at this year’s Cannes Film Festival.

In Bong Joon Ho’s exhilarating, Palme d’Or–winning film, a threadbare family of four struggling to make ends meet gradually hatches a scheme to work for, and as a result infiltrate, the wealthy household of an entrepreneur, his seemingly frivolous wife, and their troubled kids.

On the cusp of the 19th century, young painter Marianne travels to a rugged, rocky island off the coast of Brittany to create a wedding portrait of the wealthy yet free-spirited Héloise. An emotional and erotic bond develops between the women in Céline Sciamma’s Cannes-awarded subversion of the story of an artist and “his” muse.

The incomparable Gong Li (Raise the Red Lantern) gives a mesmerizing, take-no-prisoners performance in Saturday Fiction, a slow-burn spy thriller set in Japanese-occupied Shanghai on the cusp of World War II, directed by Lou Ye.

In Justine Triet’s intricate, highly entertaining study of the professional and personal masks we wear as we perform our daily lives, a psychotherapist (Virginie Efira) abruptly decides to leave her practice to restart her writing career—only to find herself increasingly embroiled in the life of a desperate new patient (Adèle Exarchopoulos).

Disillusioned Israeli Yoav (Tom Mercier), who has absconded to Paris following his military training and has disavowed Hebrew, falls into an emotional and intellectual triangle with a wealthy bohemian couple in Nadav Lapid’s powerful film about language and physicality, masculinity and nationhood.

Kiyoshi Kurosawa’s penetrating depiction of the alienation and anxiety experienced by a young reality TV host—played by former J-pop idol Atsuko Maeda—while traveling for work in Uzbekistan pushes the director’s craft into new, mysterious, and enormously emotional realms.

In Marco Bellocchio’s compelling, decades-spanning drama, Pierfrancesco Favino commands the screen as real-life figure Tommaso Buscetta, the mafia boss turned informant who helped take down a large swath of organized crime leaders in Sicily in the eighties.

In her final work, partially constructed of onstage interviews and lectures, interspersed with a wealth of clips and archival footage, Agnès Varda guides us through her career, from her movies to her remarkable still photography to the delightful and creative installation work. An NYFF57 selection.

Pedro Costa’s latest, a film of deeply concentrated beauty, stars nonprofessional actor Vitalina Varela in a truly remarkable performance, reprising and expanding upon her haunted supporting role from Costa’s Horse Money. She plays a Cape Verdean woman who has come to Fontainhas for her husband’s funeral after being separated from him for decades.

In the early nineties, a small group of Cuban defectors in Miami established a spy web to infiltrate anti-Castroist terrorist groups carrying out violent attacks on Cuban soil. Olivier Assayas brings his customary style and urgency to this unexpected subject in an epic saga starring Penélope Cruz, Édgar Ramírez, and Gael García Bernal.

Leading Romanian director Corneliu Porumboiu has made his first all-out genre film—a playful, swift, and elegant neo-noir about an easily corruptible Bucharest police detective who must learn a clandestine, tribal language, improbably made entirely out of whistling.

Small-time mob boss Zhou Zenong (the charismatic Hu Ge) is desperate to stay alive after he mistakenly kills a cop and a dead-or-alive reward is put on his head. Chinese director Diao Yinan deftly keeps multiple characters and chronologies spinning, all the while creating an atmosphere thick with eroticism and danger.

The Dardenne Brothers won this year’s Best Director award at the Cannes Film Festival for this brave new work, another intimate portrayal-in-furious-motion, about a Muslim teenager in a small Belgian town who is gradually being radicalized into extremism.

Bertrand Bonello injects urgency and history into the well-worn walking-dead genre with this unconventional plunge into horror-fantasy, moving fluidly between 1962 Haiti, where a young man known as Clairvius Narcisse is made into a zombie by his resentful brother, and a contemporary Paris girls’ boarding school attended by Clairvius’s direct descendant.

In his contemplative, pared down, and wildly engaging documentary, Tim Robbins captures a series of extraordinary sessions in which a group of inmates at the Calipatria State maximum-security facility take part in acting exercises that enhance bonding and emotional connection.

Michael Apted’s one-of-a-kind British film series returns once again to the lives of Tony; Nicholas; Suzy; Symon and Paul; Jackie, Sue, and Lynn; Andrew and John; Neil and Peter; and Bruce, more introspective than ever at age 63.

In this patient, heart-rending portrait of Syrian citizens who have fled their country, Iraqi-born filmmaker Abbas Fahdel, director of the epic Homeland (Iraq Year Zero), settles in with a community of refugees living in a tent camp in Lebanon’s Beqaa Valley.

D.W. Young’s elegant and entertaining documentary is a lively tour of New York’s book world, past and present, from the Park Avenue Armory’s annual Antiquarian Book Fair; to the Strand and Argosy book stores, still standing against all odds; to the beautifully crammed apartments of collectors and buyers.

This remarkable documentary captures the emotional and physical journey of surgical transitioning, as experienced by patients at New York’s Mount Sinai Hospital under the guidance of groundbreaking surgeon Dr. Jess Ting.

This thorough and mesmerizing documentary takes an appropriately unflinching look at the life and death of Roy Cohn, the closeted, conservative American lawyer whose first job out of law school was prosecuting filmmaker Ivy Meeropol’s grandparents, Julius and Ethel Rosenberg.

Veteran filmmaker Lynn Novick’s intimate documentary event is a four-part chronicle of a handful of ambitious and inspiring incarcerated students as they work towards their college diplomas in the Bard Prison Initiative.

This painstakingly constructed new documentary charts the artistic evolution of choreographer Merce Cunningham and immerses the viewer in the precise rhythms and dynamic movements of his work through a 3D process that allows us to step inside the dance.

Manny Kirchheimer has meticulously restored and constructed 16mm black-and-white footage that he and Walter Hess shot in New York between 1958 and 1960, creating a lustrous evocation of a different rhythm of life. Preceded by Suite No. 1, Prelude, Nicholas Ma’s short, loving portrait of his legendary father, Yo-Yo Ma, recording Bach’s Cello Suites.

Documentarian Nick Broomfield has never made a movie more distinctly personal than this complex and moving film about his relationship with his humanist-pacifist father, Maurice Broomfield, a factory worker turned photographer.

In Ric Burns’s invigorating documentary, we get to know Oliver Sacks, from his childhood with a schizophrenic older brother, to his years as a champion bodybuilder and motorcycle aficionado, to his remarkable accomplishments as one of our foremost neurologists.

Nanni Moretti (Caro Diario, Ecce Bombo) tells a story many viewers may not know about: the efforts of the Italian Embassy to save and relocate citizens targeted by the fascist Pinochet regime in Chile.

Sergei Loznitsa has uncovered a wealth of astonishing, mostly unseen archival footage of the “Great Farewell” in the days following the death of Joseph Stalin in March 1953 to create an ever-relevant meditation on horrors and absurdity of totalitarianism.

This one-of-a-kind hybrid fiction-documentary, which will screen free to the public, engages the services of two actual legal teams to create a rigorous, legally based fictional—yet unscripted—trial that never happened for one of the nation’s most disturbing recent tragedies.

Coppola recovered lost negatives to bring The Cotton Club, his sophisticated, witty, and wildly ambitious evocation of thirties genre cinema, back to its original length and luster, with restored sound and image.

The Joker has gone through many transformations and iterations, but his origin story has never been as vividly or shockingly imagined and realized as it is here. Join us for a special screening and discussion with the creative team behind this truly disturbing vision, led by director Todd Phillips and Joaquin Phoenix.

We are pleased to present a free talk and screening of the latest film from acclaimed director Lynne Ramsay (You Were Never Really Here), the half-hour documentary Brigitte, about portrait photographer Brigitte Lacombe.

In this special discussion, Assayas will talk about the process of turning real events into creative fictions. Starring Penélope Cruz and Édgar Ramirez, Wasp Network is based on Fernando Morais’s meticulously researched 2015 book The Last Soldiers of the Cold War.

Film at Lincoln Center pays tribute to a titan of independent cinema with a panel of New Yorkers who knew him well. Moderated by Columbia University film professor Annette Insdorf, the talk will include his collaborators Ethan Coen, John Turturro, and film distributor Eamonn Bowles.

On the heels of their propulsive Good Time, the Safdie Brothers raise their game with another unhinged New York odyssey coasting on the sweaty highs and lows of a hapless protagonist and the frenetic pace of a city spinning out of control.

Luis Buñuel and Salvador Dalí followed up their seminal first collaboration, the short Un chien andalou, with this equally bold, acridly funny picture of the hypocrisies of modern bourgeois life, brought back in an amazing new restoration.

This worldly, richly layered adaptation of Sinclair Lewis’s 1929 novel, starring Walter Huston and Ruth Chatterton as a wealthy American couple whose marriage is on the rocks during a trip to Europe, is one of the triumphs of the storied career of director William Wyler.

A dangerous combination of radiation and insecticide causes the unfortunate Scott Carey (Grant Williams) to shrink, slowly but surely, until he is only a few inches tall in this cornerstone of the sci-fi B-movie boom of the American fifties.

One of the most extraordinary concert films ever made, Brooklyn-born fashion photographer Bert Stern’s glistening, full-color document of the 1958 Newport Jazz Festival in Rhode Island is as intimate and gorgeous a depiction of a live music event as one could hope to see.

The great Senegalese director Djibril Diop Mambéty made two wonderful medium-length films in the nineties, magical realist works grounded in the political realities of Dakar.

Luis Buñuel’s Los Olvidados remains one of the world’s most influential films in its unsentimental yet vivid, sometimes surreal depiction of impoverished youths in Mexico City.

Alain Delon stars as a tragically hip poetry and literature professor who travels to Rimini for a four-month teaching assignment with his suicidal wife (Lea Massari), and starts an ill-fated affair with one of his students. Valerio Zurlini’s penetrating character study has been restored to its full length, with 45 minutes added back in after cuts made upon release.

A 7.5-hour epic structured in 12 interlocking chapters, Béla Tarr’s international breakthrough follows the collapse of a rural collective and the seductive promises of a returning prophet. Screening in three parts with one 20-minute intermission and one 30-minute intermission.

This program brings together three remarkable restored short works by radical Armenian-Georgian filmmaker and artist Sergei Parajanov—meditations on the nature of art and artists that boast his singular, colorful, collage-like style. An NYFF57 selection.

These vivid, colorful, narration-free nonfiction works, shot in locations around Sicily, Sardinia, and Calabria, alight on the daily labors and traditional customs of rural workers and their families, bringing out their rituals with such focused determination that they become almost dreamlike.

Haskell Wexler’s sumptuous and kinetic black-and-white handheld cinematography suffuses America, America with a spontaneous energy, greatly enhancing Elia Kazan’s turn-of-the-20th-century portrayal of an immigrant’s journey to a better life.

Michel Gondry’s 2005 documentary of a free daylong performance in Brooklyn hosted by comedian Dave Chapelle abounds with life, energy, and rhythm—thanks in no small part to DP Ellen Kuras’s nimble camera, which captures the all-star concert as a kaleidoscopic, reverberant event.

Néstor Almendros’s first Hollywood film was Terrence Malick’s anticipated follow-up to his debut, Badlands. Hired by Malick for his sure hand with natural lighting, Almendros ravishingly draws out and amplifies the inherent beauty and poetry of Malick’s 1916-set story.

Jim Jarmusch’s hypnotic, parable-like, revisionist Western doubles as a barbed reflection on America’s treatment of its indigenous people and a radical twist on the myths of the American West, expressed in no small part by Robby Müller’s striking black-and-white cinematography.

In the second installment in Francis Ford Coppola’s epic family crime saga, Diane Keaton accentuates the tragic stakes of an elemental confrontation between patriarchal legacies of violence and a mother’s fierce drive to protect her children.

Though Gregg Toland is perhaps best known for his work on such films as Citizen Kane and The Best Years of Our Lives, his camerawork in John Ford’s adaptation of John Steinbeck’s classic novel rates among the influential cinematographer’s greatest achievements.

The pioneering Chinese-American cinematographer James Wong Howe shot more than 130 films during his distinguished career—perhaps none as engrossing and entertaining as Vincent Sherman’s 1943 genre-melding musical melodrama.

Alfred Werker’s pseudo-documentary noir, a lean, mean thriller concerning a petty thief (Richard Basehart) who kills a cop and roams Los Angeles, represents one of cinematographer John Alton’s crowning achievements, an endless, anxious maze of urban shadows.

Leon Shamroy’s Oscar-winning work on Leave Her to Heaven marks a historically inspired attempt at a kind-of squaring of the circle: shooting a gripping noir—with Gene Tierney as a murderously selfish femme fatale—in vibrantly beautiful Technicolor.

Robert Altman’s revisionist western, with Warren Beatty as fur-clad gambler John McCabe, who blows into a snowy town in Washington and sets up a brothel, is defined by Vilmos Zsigmond’s fleet camerawork, which masterfully captures Altman’s characters amid snow-covered landscapes and in candlelit back rooms.

Filmed by Sven Nykvist on Fårö, Ingmar Bergman’s bleak island home, The Passion of Anna is the case history of a contemporary Everyman, one Andreas Winkelmann (Max von Sydow), a lost soul ricocheting emotionally among a trio of equally damaged folk.

Following a platoon of female cadets through basic training at Georgia’s Fort Gordon, Nick Broomfield and Joan Churchill’s 1981 documentary endures as a comical and often critical look at the military industrial complex. Churchill’s dual role as cinematographer and director intensifies her already complicated relationship to the subject.

Brilliantly shot by Ernest Palmer and Paul Ivano, Street Angel has endured as one of Borzage’s most transporting and affecting weepies, about a young woman (Janet Gaynor in an Oscar-winning role) forced into a life of crime by her ailing mother’s escalating medical costs.

A mixture of narrative and documentary, this program showcases bold, new films by emerging and established filmmakers working in international cinema today.

This documentary program connects the imperfections of the human experience to the influence of technology and mass media by pairing Pia Borg’s chilling account of the Satanic Ritual Abuse Panic of the 1980s with Theo Anthony’s wry, imaginative essay film about the instant replay system of professional tennis. 

From absurdist thrillers and political fantasies to lo-fi sci-fi and body horror, these seven shorts from emerging and established international filmmakers make up this wildly eclectic narrative program.

This program, now in its fifth year, showcases work from some of the most exciting filmmakers living and working in New York today, including established names and ones to watch. 

This three-film program explores the ways that our species has left indelible marks on the planet through hunting, the continuous creation of waste, and the use of Earth’s natural materials in our homes.

Featuring Maria Belen Poncio’s Metro Viente, Ryan Schmal Murray’s Eyelydian, Lucas Gath and Shannon Service’s Ghost Fleet, and Lonelyleap’s Send Me Home.

Featuring John Hsu’s Your Spiritual Temple Sucks, Lena Herzog’s Last Whispers, Jonathan Glancy’s Homeless: A Los Angeles Story, and Ryan Schmal Murray’s Eyelydian.

In this interactive experience, the audience pivots between the perspectives of a small-town pastor, a grandmother, and a teenage girl dealing with their complex relationships to community and prescription drugs.

Edgar Allan Poe’s legacy, his ghosts, and even the mysterious circumstances of his death are examined in this interactive experience that blends immersive theater, elements of game play, cutting-edge audio technology, and first-rate storytelling.

Join creators Casey Stein and Bernard Zeiger for an immersive presentation about developing the piece, the power of interactive filmmaking, and the many possible futures of storytelling.