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Film at Lincoln Center and Japan Foundation NYC present Yoshimitsu Morita, a retrospective of the Japanese filmmaker’s career, running from December 2–11. Get tickets here.
Across a 30-plus-year career, Yoshimitsu Morita (1950–2011) amassed one of the most fascinatingly idiosyncratic and prolific bodies of work in modern Japanese cinema. From his irreverently comic 1981 Something Like It to his 1983 breakout black comedy, The Family Game (a New Directors/New Films 1984 selection), to forays into melodrama (And Then, 1985), the hard-boiled film (Deaths in Tokimeki, 1984), the pink film/roman porno (Top Stripper, 1982), horror (The Black House, 1999), and romantic drama (Haru, 1996), Morita’s work is marked by an incomparable sensitivity to the peaks and valleys of the inner landscape of Japanese society, a penchant for subtle injections of surreality to highlight the absurdity of certain aspects of Japanese life, an omnipresent sense of irony, and a boldly iconoclastic approach to visual composition. Morita’s films deal with many of the same subjects as those of his better-known predecessors and successors, but from a wholly singular point of view, yielding a richly heterogeneous and perpetually surprising oeuvre overdue for discovery. Join Film at Lincoln Center for a special retrospective of Morita’s films and get lost with us in his cinematic labyrinth of desire, chaos, and joy.
This retrospective was organized by Dan Sullivan and Aiko Masubuchi.
Listen: Yoshimitsu Morita Preview and Joanna Hogg & Kelly Reichardt In Conversation Film at Lincoln Center
Director Joanna Hogg and actor Tilda Swinton dive into the making of The Eternal Daughter, the influence of Victorian ghost stories in literature and film, and exploring the relationship between mothers and daughters.
The Film Comment Podcast: TÁR WARS Film Comment
Film at Lincoln Center and Japan Foundation present Yoshimitsu Morita, a retrospective of the Japanese filmmaker’s career, running from December 2–11.
Director Elegance Bratton discusses adapting his personal experience, visual influences like Claire Denis’s Beau Travail and Gillo Pontecorvo’s The Battle of Algiers, and working with Jeremy Pope and Gabrielle Union.
Free Talk: Sam Mendes | Dec. 6 at 4pm Film at Lincoln Center
Main Slate selections from the fifty-ninth New York Film Festival in 2021.
Main Slate selections from the fifty-eighth New York Film Festival in 2020.
Main Slate selections from the fifty-seventh New York Film Festival in 2019.
Main Slate selections from the fifty-sixth New York Film Festival in 2018.
Main Slate selections from the fifty-fourth New York Film Festival in 2016.
Main Slate selections from the fifty-fifth New York Film Festival in 2017.
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 whole NYFF 60 challenge has really been great for me! Allows me to be more thoughtful in my choices, while also allowing me to A) revisit films either I love or would like to reevaluate, B) allows me to catch up on films that I’ve been meaning to see for years, like Blue or This is Not a Film, and C) seek out obscure oddities that I would never have found out without such an impressively long list. Sugarbaby falls…
this valentine’s day I took the love of my life (me) to the most romantic place I could think of (the walter reade theater)
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…
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…