Denzel Washington and Frances McDormand star in Joel Coen’s NYFF59 opener, The Tragedy of Macbeth
FIFTY-NINTH NEW YORK FILM FESTIVAL
Film Society of Lincoln Center
Walter Reade Theater, Howard Gilman Theater, Francesca Beale Theater, Alice Tully Hall, Damrosch Park, and other venues
September 24 – October 10, $17-$25
www.filmlinc.org/nyff2021
For its fifty-ninth year, the New York Film Festival, running September 24 through October 10, returns in person, primarily at five venues at Lincoln Center but also with a handful of satellite screenings at Anthology Film Archives downtown, BAM Cinemas in Fort Greene, the Maysles Documentary Center in Harlem, and the Jacob Burns Film Center in Pleasantville.
The opening-night selection is the hotly anticipated The Tragedy of Macbeth, Joel Coen’s Shakespeare adaptation starring Denzel Washington and Frances McDormand as the ambitious couple seeking power at all costs. Jane Campion’s The Power of the Dog, a neo-Western based on a cult novel by Thomas Savage and with Kirsten Dunst, Jesse Plemons, and Benedict Cumberbatch, is the centerpiece choice. The closing-night selection is festival favorite Pedro Almodóvar’s Parallel Mothers, in which two women, played by Penélope Cruz and Milena Smit, meet in a maternity ward in a story about pain and trauma.
The main slate features a wide range of works from international directors; among the highlights are Mia Hansen-Løve’s Bergman Island, which takes place on Fårö, where Ingmar Bergman lived and worked; Gaspar Noé’s tender Vortex; Futura, an Italian omnibus by Pietro Marcello, Francesco Munzi, and Alice Rohrwacher; Paul Verhoeven’s Benedetta, about a real-life seventeenth-century nun; Radu Jude’s Golden Bear winner Bad Luck Banging or Loony Porn; Ryûsuke Hamaguchi’s Drive My Car, inspired by a Haruki Murakami short story; Rebecca Hall’s Passing, an adaptation of Nella Larsen’s 1929 Harlem Renaissance novel; Céline Sciamma’s Petite Maman, in which an eight-year-old girl deals with loss; Saul Williams and Anisia Uzeyman’s sci-fi punk musical Neptune Frost; and Hit the Road, the debut of Panah Panahi, son of fest fave Jafar Pahanhi.
Fans of Lou Reed can check out Todd Haynes’s new documentary, The Velvet Underground, about the revolutionary band, as well as Songs for Drella, Ed Lachman’s 1990 concert film of Reed and John Cale’s song cycle for Andy Warhol. Apichatpong Weerasethakul is back at the festival with Memoria, starring Tilda Swinton as an ex-pat botanist, and the short film Night Colonies, part of Currents Program 7: New Sensations. And unstoppable South Korean auteur Hong Sangsoo has a pair of Main Slate films, In Front of Your Face and Introduction.
Melvin Van Peebles’s Sweet Sweetback’s Baadasssss Song is part of NYFF59 Revivals
Among the other works in the Currents section, focusing on socially relevant fiction and nonfiction films, are Wang Qiong’s All About My Sisters, Denis Côté’s Social Hygiene, Shengze Zhu’s A River Runs, Turns, Erases, Replaces, and Claire Simon’s I Want to Talk About Duras. Revivals include Joan Micklin Silver’s Hester Street, Lynne Ramsay’s Ratcatcher, Melvin Van Peebles’s Sweet Sweetback’s Baadasssss Song, Miklós Jancsó’s The Round-Up, Mira Nair’s Mississippi Masala, Wendell B. Harris Jr.’s Sundance winner Chameleon Street, Jack Hazan and David Mingay’s Rude Boy starring the Clash, and Christine Choy’s Who Killed Vincent Chin?
Denis Villeneuve’s Dune leads the Spotlight section, along with Marco Bellocchio’s Marx Can Wait, Maggie Gyllenhaal’s directorial debut The Lost Daughter, Wes Anderson’s The French Dispatch, and Mike Mills’s C’mon C’mon, with Joaquin Phoenix. And finally, NYFF59 pays tribute to the centenary of cofounder Amos Vogel’s birth with a seven-program Spotlight sidebar consisting of cutting-edge, avant-garde, experimental shorts and features Vogel brought to Cinema 16 from 1947 to 1963 and the New York Film Festival between 1963 and 1968.
