For over 50 years, Film at Lincoln Center has been dedicated to supporting the art and elevating the craft of cinema and enriching film culture. The New York…
Film at Lincoln Center announces the eighth edition of Art of the Real, the essential showcase for vital and innovative voices in nonfiction and hybrid filmmaking, from November 19-21.
The 2021 slate features a vibrant collection of works by acclaimed filmmakers from around the world. Aptly subtitled “Counter Encounters,” this year’s Art of the Real presents one feature and 41 shorts, and encompasses works by historical and contemporary filmmakers, artists, collectives, and communities. Their practices not only disturb classical ethnographic paradigms, but also reinvent an art of the real in itself.
Counter Encounters is a cinephilic letter to ethnography, one of rupture and reignition, inviting consideration by everyone interested in building visual cultures of mutual recognition. Almost since its inception, ethnography has reckoned with its own complicated foundations, among them its roots in colonialism, and the imbalanced and troubled relations inherent in a one-sided narrative of encounter. Through this self-reflection and reinvention, new forms of cinema have been devised by ethnographers and artists, which have helped to question and reinvent the languages representing alterity.
Free Talks and Q&As
*Click "Read Notes" for direct links and section details.*
Films not on Letterboxd:
- Speech at the Constituent Assembly, Brasilia
Ailton Krenak, 1987
Program 1: Acts of Refusal I
November 19 at 6:30pm
Thirza Cuthnad, 2013
Program 3: What We See Is Real
November 20 at 6pm
- Já me transformei em imagen (I already became an image)
Zezinho Yube, 2008
Program 4: Living Among Ruins
November 20 at 8:15pm
I’ll Be Your Mirror: Nathan Lee on Licorice Pizza Film Comment
Radu Jude on Comedy, Vulgarity, and History in Bad Luck Banging or Loony Porn Film at Lincoln Center
Unveiling the Trailer for Art of the Real: Counter Encounters! Film at Lincoln Center
Alexandre Koberidze on Football and Fantasy in What Do We See When We Look at the Sky? Film at Lincoln Center
59th New York Film Festival 125 films
Presented by Film at Lincoln Center, the New York Film Festival highlights the best in world cinema and takes place…
Andrzej Munk Retrospective 7 films
Considered one of the founders of the Polish Film School movement, along with Andrzej Wajda and Jerzy Kawalerowicz, Andrzej Munk…
Since 1963, the New York Film Festival has brought new and important cinematic works from around the world to Lincoln…
New York Asian Film Festival 2021 38 films
The 20th edition of the New York Asian Film Festival (NYAFF), a hybrid event with NYAFF’s largest film lineup to…
A New York Times Critic's Pick, C.W. Winter and Anders Edström's eight-hour film, The Works and Days (of Tayoko Shiojiri…
Community Corner: Iranian Cinema 47 films
A selection of the 41st New York Film Festival, Crimson Gold features a collaboration for the ages. Written by Abbas Kiarostami…
Israeli filmmaker Nadav Lapid shows no signs of slowing down in this shattering follow-up to his bat-out-of-hell Synonyms (NYFF57). A film of radical style and splenetic anger, Ahed’s Knee accompanies a celebrated but increasingly dissociated director (Avshalom Pollak) to a small town in the desert region of Arava for a screening of his latest film. Already anguished by the news of his mother’s fatal illness (Lapid’s film was made soon after the death of his own mother, who had worked…
Collective and personal ghosts hover over every frame of Memoria, somehow the grandest yet most becalmed of Apichatpong Weerasethakul’s works. Inspired by the Thai director’s own memories and those of people he encountered while traveling across Colombia, the film follows Jessica (a wholly immersed Tilda Swinton), an expat botanist visiting her hospitalized sister in Bogotá; while there, she becomes ever more disturbed by an abyssal sound that haunts her sleepless nights and bleary-eyed days, compelling her to seek help in…
Denzel Washington stars opposite Sarita Choudhury in Mira Nair’s second fiction feature, which endures as a seminal screen romance of the 1990s. Choudhury is Mina, a Ugandan Indian from Kampala whose family leaves Uganda after the implementation of Idi Amin’s policy of forcefully expelling all Asians from the country. They wind up in Greenwood, Mississippi, living with relatives and trying to reconcile the trauma of their involuntary exile with assimilating to American culture. Some 17 years pass before Mina falls…
Among the many ways that racism is deeply entrenched in our film culture is a technical one: the lighting for movie cameras has always been calibrated for white skin, with other production tools reflecting the same bias throughout cinema history. Three filmmakers collectively explore the literal, theoretical, and philosophical dimensions of that reality in this discursive, playful, and profound work of nonfiction. In a series of thematically linked, provocative discussions and interrogations, Eléonore Yameogo from Burkina Faso, Belgian An van.…
This review may contain spoilers. I can handle the truth.
***this is a review of the DIRECTOR'S CUT of Midsommar, and a detailed breakdown of the new footage after the jump***
On July 3, Ari Aster’s “Midsommar” was released on 2,700 screens across the United States. The twisted modern fairy tale —an epic fable that starts with a bleak murder-suicide, and ends with a somewhat brighter one almost 147 minutes later — was an extraordinary ask for a multiplex audience, and Aster knew full well how fortunate he was that…
How refreshing. Denis’s dense and fully fleshed-out conversations, confrontations and intimate moments are such a joy to watch and stick with you. She’s always good.
Colonialism Roleplay ASMR - Must Watch Till End!
the first word we hear in ZAMA is "voyeur," an accusation laid against the title character by a group of women he watches bathe on the beach. zama flees as a woman pursues him, only to turn around and strike her down. it is this inciting incident that frames the rest of the film and its perspective on colonialism: not as violence against women persay, but as voyeurism. the indigenous population and…
Colonialism as a closed loop. The faces of the generals and the enemies change but the names seem to stay the same, all the while the once proud official slowly deteriorates, his clothes rotting and his mind melting. Martel's rapturous compositions manage to feel cramped even at their most expansive, using intersecting planar blocking to add to the general sense of confusion, of not knowing where to look or what to do. The last third, which leaps ludicrously far away from the preceding material, somehow sharpens the entire feature, bringing its nightmarish logic into crystalline focus.