Join us for 17 days of the best cinema from around the world at the 57th New York Film Festival! Tickets go on sale this Sunday at noon. See a round-up of all the trailers & clips of this year’s selection at the link in bio, along with the schedule and brochure. #NYFF

Just announced! Lily Tomlin will introduce Robert Altman's masterpiece Nashville, presented in a new 4K restoration on September 14 during her dual retrospective with Jane Wagner. Tomlin was nominated for Best Supporting Actress Oscar for this, her first movie, a panoramic look at the Tennessee capital in the run-up to a presidential primary. Tomlin used what she knew of her parents’ Kentucky roots to make Linnea fully dimensional, and her quiet approach to the role silences the extraordinary chatter around her. Tomlin’s performance alternates between humor, longing, and calm capability. Writing in The New Yorker about Tomlin’s turn, Pauline Kael said, “You’ll never forget her.” And you won’t.

Just announced! Cinematographers Ed Lachman and Don Lenzer will join the Say Amen, Somebody Q&A at this Friday’s 6:45pm screening. They will talk with director George T. Nierenberg and choir director Bishop Chantel Wright in a discussion of their work as cameramen on the film, which is as much a fascinating time capsule as it is a peerless concert movie. Get tickets for the new restoration at the link in bio.

“The work of director Piotr Szulkin is all but unknown outside his native Poland, yet it includes some of the strongest movies ever made by a politically-minded sci-fi visionary, says Michał Oleszczyk at RogerEbert.com. Our retrospective dedicated to the director begins Friday, featuring new restorations and U.S. premieres! Save with a 3+ film package. Pictured: O-Bi, O-Ba: The End of Civilization, his Sisyphean journey into madness which unfolds in a postapocalyptic underground bunker where what remains of civilization is a step away from total collapse—and only one man can save it.

Roger Ebert: “One of the most joyful movies I’ve ever seen.” See the beautiful new 4K restoration of George Nierenberg’s acclaimed documentary Say Amen, Somebody starting this Friday! Join us for a special a cappella gospel performance by Songs of Solomon Choral Union/Pneumatica at the start of the 6:45pm screenings this Friday & Saturday. Those screenings will be followed by a Q&A with the director and choir director Bishop Chantel Wright. 🎤 Tickets are going fast. Reserve yours at filmlinc.org/sayamen

It’s the final two days of our J. Hoberman-curated 1980s series! 2-for-1 double features today are Near Dark & River’s Edge at 2pm and RoboCop & The Running Man at 6:15pm. On the final day tomorrow, The Last Temptation of Christ & They Live play at 1:30pm, followed by Salvador & Walker at 6:30pm.

What’s on your #NYFF schedule? Tickets go on sale one week from today, September 8, at noon EST! 🎟 📸: Main Slate selection Atlantics from Mati Diop, who will also participate in a Directors Dialogue on October 10.

Happy birthday, Lily Tomlin! ✨ Starting September 12, join her in person with Jane Wagner for a dual retrospective of their versatile careers, featuring classics, rarities, and more. Schedule & tickets at filmlinc.org/tomlinwagner

Paul Verhoeven: "In American politics, of course, there is a tendency to take a part of history but not tell what happened before." His sci-fi pulp masterpiece RoboCop plays in a 2-for-1 double feature with The Running Man this Friday & Monday during the final week of Make My Day: American Movies in the Age of Reagan!

Martin Scorsese's The Last Temptation of Christ and John Carpenter’s They Live play in a 2-for-1 double feature this Saturday & Sept. 3, both in 35mm! Scorsese’s passion project, starring Willem Dafoe in one of his greatest performances as Jesus Christ, ranks among the most controversial American films released during Reagan’s second term. “Rowdy” Roddy Piper stars in Carpenter’s classic low-budget sci-fi allegory about the role of ideology in our unconscious daily lives, “the most anti-Reagan film ever to come out of Hollywood,” Lewis Beale noted in a profile of Carpenter at the time of the film’s release.

A testament to the collaborative nature of art and show business, the career of beloved comic actor Lily Tomlin has long been intimately connected to that of her partner Jane Wagner. Join them in person for a dual retrospective Sept. 12-16, which considers their projects together across a variety of formats, in which writer and sometimes director Wagner’s sharp-eyed observations and deftly drawn characters are animated through Tomlin’s tremendous versatility on-screen. The scope of their work suggests the breadth of a lasting and fruitful partnership that reshaped the art of American comedy and expanded its feminist imagination. Get tickets, including a 3+ film discount package, at filmlinc.org/tomlinwagner

One of Alex Cox’s most gleefully incendiary films (scripted by Rudy Wurlitzer and scored by Joe Strummer), Walker stars Ed Harris as the 19th-century American mercenary William Walker, who briefly served as the president of Nicaragua. Plays this Wednesday & September 3 in a 2-for-1 double feature with Oliver Stone’s directorial breakthrough, his vividly rendered war drama Salvador.

Keanu Reeves, Crispin Glover, and Ione Skye star in River’s Edge, playing on Tuesday & Sept. 2 in a double feature with Near Dark. Tim Hunter’s 1986 film is an enduring, nightmarish, and controversial vision of middle-class disaffection and a generation for whom Reagan’s “Morning in America” was in fact an endless night.

Kathryn Bigelow’s second feature Near Dark (playing in 35mm this Tuesday & Sept. 2 in a double feature with River’s Edge) is a flamboyantly cool, cult-favorite genre hybrid, described by J. Hoberman as “a road film set in the Southwest with a ‘family’ of vampires who strongly suggest a Mansonesque hippie cult driving through Bonnie and Clyde country in a succession of stolen vans.” Starring Jenny Wright, Adrian Pasdar, Bill Paxton, and Lance Henriksen and featuring a memorable electronic soundtrack by Tangerine Dream. 🧛‍♂️

It's an avant-pop 2-for-1 double feature this Monday & Wednesday with David Byrne's True Stories and Tim Burton's Pee-Wee’s Big Adventure, both in 35mm! Plus, listen to our curated playlist for our 1980s series at filmlinc.org/makemyday 🎧

“San Francisco police detective Harry Callahan was Clint Eastwood’s most enduring character—the personification of political reaction, the antidote to the permissive Sixties and Lyndon Johnson’s Great Society,” writes J. Hoberman. “Harry—like Reagan—was a walking contradiction, the authoritarian who hates authority.” Playing in 35mm this Sunday & Tuesday with Risky Business, Sudden Impact notably marked the first onscreen instance of Dirty Harry’s (and Eastwood’s) signature catchphrase, which Reagan would himself later quote: “Go ahead, make my day.”

David Cronenberg’s seminal head trip Videodrome (playing tonight & Aug. 31 in a double feature with The King of Comedy) ranks among the great explorations into technology, the media, and the human body. Smut-peddling Toronto TV exec Max Renn (James Woods), always on the prowl for new, controversy-arousing programming, is recommended a mysterious broadcast by a colleague, apparently issuing from Malaysia, in which anonymous victims are tortured and murdered. Renn is instantly intrigued by the snuff show and begins putting it on air himself, exalting in the resultant public furor; but, just as quickly, his reality mutates into a televisual nightmare, marked by some of Cronenberg’s most iconic feats of body-horror. J. Hoberman, who will intro the double feature, writes: “Cronenberg suggests that television changed everything, even our brain functions and hence our understanding of the world.”

In Martin Scorsese’s iconic cringe comedy The King of Comedy (playing this Sat. & 8/31 in a double feature with Videodrome), Robert De Niro stars as Rupert Pupkin, a cheerful but deranged comic who aspires to get his big break on the late-night talk show hosted by Jerry Langford (Jerry Lewis). Beneath his cockeyed smile and dorky suits are the creepy trappings of Travis Bickle, so make no mistake: Pupkin’s a psycho, albeit a hilarious one. Featuring superb supporting performances by Lewis and Sandra Bernhard, The King of Comedy remains one of the great films about excruciating embarrassment, and an evocation of a lost New York. J. Hoberman, who will introduce this Saturday’s screening, writes: “Langford unavoidably evokes Ronald Reagan, nearly killed by an assassin who imagined himself as Travis Bickle, but so does Rupert Pupkin—a mediocre comic who is brilliantly delusional.”

The complete lineup for the Special Events, Shorts, and Talks sections for the 57th #NYFF have been announced! Featuring Todd Phillips’s Joker, starring a brilliant Joaquin Phoenix, Francis Ford Coppola’s extended, restored The Cotton Club Encore, the one-of-a-kind documentary American Trial: The Eric Garner Story, new shorts by Yorgos Lanthimos, Ricky D’Ambrose & more, plus extensive talks with Martin Scorsese, Pedro Almodóvar, Olivier Assayas, Bong Joon-ho, and Mati Diop. See the full announcement at the link in bio. Today is the final day to secure a Festival Pass–limited quantities available!

Experience '80s classics back on the big screen in our new series Make My Day: American Movies in the Age of Reagan, underway through Sept. 3! J. Hoberman will introduce Cutter’s Way & Blow Out tonight and The Terminator & The King of Comedy tomorrow, plus he’ll return on August 28 for a free talk with Dennis Lim on pop culture and politics in the Reagan era. All films play in 2-for-1 double features! Add both screenings to your online cart to receive discount or purchase at our box office.

The complete Spotlight on Documentary lineup at the 57th #NYFF has been announced, featuring new works from Nick Broomfield, Nanni Moretti, Lynn Novick, Michael Apted, Sergei Loznitsa & more! Explore the lineup of 14 films–including six World Premieres, two North American Premieres, and five U.S. Premieres–at the link in bio. Tickets go on sale September 8 at noon.

One of Brian De Palma’s greatest films and one of the great American films of the 1980s, Blow Out finds the director mixing a variety of political and genre elements into a hallucinatory thriller that builds to a shattering conclusion. Plays this Friday (Aug. 23) and Monday (Aug. 26) in a 2-for-1 double feature with the atmospheric neonoir Cutter’s Way, starring Jeff Bridges and John Heard. J. Hoberman will introduce both 35mm screenings on Friday, the opening night of our new series Make My Day: American Movies in the Age of Reagan.

Scarlett Johansson is Nicole and Adam Driver is Charlie in Noah Baumbach’s #NYFF Centerpiece selection Marriage Story. Watch the first teaser trailers at the link in bio and secure your seats with a Festival Pass—limited quantities available and on sale through Friday, August 23 only. #marriagestory #noahbaumbach #scarlettjohansson #adamdriver

It’s the final two days of Scary Movies XII! Tomorrow, join us for Ready or Not at 7pm (limited tickets available), followed at 9:30pm by Søren Juul Petersen’s directorial debut Finale, a gruesome and grisly meditation on the potential for cruelty inherent in surveillance and spectatorship. Q&As at both screenings and all ticket holders invited to Closing Night party in between screenings! 😱

Spanish horror veteran Adrián García Bogliano teamed up with iconic Swedish actress Christina Lindberg for the trippily mesmerizing tale Black Circle, in which dark otherworldly forces are unleashed upon two sisters when they undergo hypnosis induced by an old vinyl record. See the North American premiere with director Q&A this Monday at 6:30pm at Scary Movies XII!

Sigourney Weaver and Holly Hunter star as an agoraphobic psychologist and a San Francisco police detective who join forces to catch a killer in Jon Amiel’s sleek thriller Copycat, playing in 35mm this Sunday at 8:30pm during Scary Movies XII!

Happy birthday, Robert De Niro! Pictured on the set of Taxi Driver.

On September 27, his epic new collaboration with Martin Scorsese, The Irishman, world premieres at the 57th #NYFF. Get an Opening Night or Premier Pass to secure your seats. #robertdeniro #martinscorsese #theirishman #taxidriver

R.I.P. Peter Fonda (1940-2019)

🚨🚨 A few upcoming deadlines for the 57th #NYFF: today is the final day for Press & Industry accreditation applications, Critics Academy applications are closed after this Monday, and August 25 will be the final day to secure a Festival Pass, though only limited quantities remain, so make sure to secure yours before they sell out. Also, our volunteer call for the festival is now open! See more details at the link in bio. 📸: Bertrand Bonello’s Main Slate selection Zombi Child.

Starring Naomi Watts in a spring-loaded performance as an acclaimed writer suffering from extreme agoraphobia, and set during the 1977 Summer of Sam in New York City, Alistair Banks Griffin’s sophomore feature The Wolf Hour is a sweaty, intensely atmospheric examination of fear itself as a mortal foe to be vanquished. See the New York premiere with director Q&A this Sunday at 6pm at Scary Movies XII! #thewolfhour #naomiwatts #alistairbanksgriffin #scarymovies

Get terrified at Film at Lincoln Center this weekend. 😱 The 12th edition of our annual horror film festival, Scary Movies, begins tomorrow! Highlights includes Andrés Kaiser’s visually arresting Feral, the Naomi Watts-led The Wolf Hour, Adrián García Bogliano’s trippily mesmerizing Black Circle, the unrated cut of the Seann William Scott serial killer thriller Bloodline, the Closing Night selections Ready or Not and Finale, and much more. Get tickets and save with a discount package at the link in bio. 🔪

Convergence returns to #NYFF this year, delving into innovative modes of storytelling via interactive experiences, featuring Virtual Reality, Immersive Cinema, game play, and more! Featuring three VR programs, as well as special events, the lineup includes the World Premiere of The Raven, a wholly original approach to storytelling combining state-of-the art augmented audio, interactive theater, and elements of game play. In honor of the 170th anniversary of the death of Edgar Allan Poe, the innovative experience guides attendees through a completely transformed historical 5th Avenue mansion where they will uncover details about Poe's life, legacy, and the mysterious circumstances of his death. The lineup also features the World Premiere of Holy Night, a Rashomon-esque interactive iPad examination of the United States opioid crisis through the lens of three characters affected by addiction in small town America. See the complete lineup at the link in bio, including the playfully bizarre Your Spiritual Temple Sucks, pictured above.

This Saturday at Scary Movies, join us for a special pairing of hair-raising rediscoveries centered on terrifying bears. At 2pm, William Girdler’s uber-successful mockbuster Grizzly features an 18-foot prehistoric grizzly bear hell-bent on terrorizing a national park. Followed at 4pm by a special 40th anniversary screening of John Frankenheimer’s Prophecy, an outrageous and affectionate love letter to 1950s American bug movies. Both films play in 35mm! 🐻 Save with a 3+ film package.

This Wednesday, Face/Off finally comes to Film at Lincoln Center in 35mm! An FBI agent and a terrorist—played in highest octane by John Travolta and Nicolas Cage—surgically swap faces, each confronting a version of himself embodied by his adversary. This unusual premise could suggest that the film deliberates on the philosophical dilemmas of identity and the nature of the self, but Face/Off transpires on an alternate plane of sheer irrationality, offering unrelenting, highly stylized, and choreographed physical violence. After two previous failed attempts (1993’s Hard Target and 1996’s Broken Arrow), Woo had finally transported the effects of his celebrated Hong Kong action films to Hollywood. While his subsequent American efforts failed to replicate this triumph, at the time Woo had been an emblem for the transnational ambitions of Hollywood and the global financiers of the late 20th century, his aesthetics formed abroad but packaged stateside and consumed from Boston to Bombay and Beijing.

Unbound by musty notions of “good taste,” Paul Verhoeven’s Showgirls goes further than any other film of the 1990s in its orgiastic depiction of consumerism, crass spectacle, and the dark side of the American dream. Playing in 35mm this Sunday at 6:45pm & Tuesday at 1:30pm, Elizabeth Berkley (in a tour-de-force of hysterical excess) stars as Nomi, a tough-as-nails drifter with a go-it-alone attitude and a murky past, who arrives in Las Vegas and sets about trampling on everyone around her—including Gina Gershon’s evil-seductive nightclub diva—as she fights her way up from stripper in a sleazy club to star showgirl. With its deliciously overripe dialogue and nigh-unhinged performances, Showgirls is both a delirious star-is-born satire and a terrifying vision of capitalism’s corruption of the soul.

Playing this Saturday at 6pm and Wednesday at 3:30pm, Wim Wenders’s emotionally overwhelming, Palme d’Or–winning odyssey Paris, Texas is a film of oppositions: wispy, home-recorded memories and rock-solid Southwestern landscapes; long stretches of silence and soul-baring monologues; American and European sensibilities. It instantly became a career highlight for almost everyone involved: screenwriter Sam Shepard; composer Ry Cooder; cinematographer Robby Müller; Harry Dean Stanton, whose performance as a lonely amnesiac seeking out his wife and son became his most iconic screen role; and Nastassja Kinski, whose absence, as Stanton’s estranged wife, dictates the movie’s rhythm. When she finally appears, it’s with what might be her finest performance to date, a condensed showcase of all her skill and restraint.

Shot in a documentary style, with non-actors cast partly according to their political sympathies, Punishment Park imagines a near-future where due process in America has been suspended as a response to increasing civil unrest, and the fates of political dissidents are instead determined by tribunal. Otherwise facing lengthy prison terms, the newly convicted opt for three days in Bear Mountain National Punishment Park, in which they must traverse a pitiless desert terrain to win their freedom, while outmaneuvering cops and National Guard members, for whom their capture is a gruesome training exercise. Peter Watkins’s dystopian fantasy of another era offers a vision of state-sponsored brutality that continues to correspond, unsettlingly, to our own. Plays Friday at 6:45pm and Monday at 4:30pm.

Tomorrow, August 8, at 7pm join Another Country co-organizers Thomas Beard and Shanay Jhaveri (editor of America: Films from Elsewhere) for a free, wide-ranging discussion of the series, the representation of America by foreign and immigrant auteurs, and more. Our series continues through next week with Lars von Trier’s Dogville, Chantal Akerman’s News from Home, Terence Davies’s The House of Mirth, Jane Campion’s In the Cut, Wim Wenders’s Paris, Texas, Paul Verhoeven’s Showgirls, John Woo’s Face/Off & more! Save with a 3+ film package.

Unveiling the 57th New York Film Festival poster, designed by Main Slate director Pedro Almodóvar, whose film Pain and Glory marks his 11th #NYFF appearance! Speaking about his inspiration for the design, Almodóvar said, “For the basis of this year’s New York Film Festival poster, I used a photo of a still life that I exhibited at the Marlborough Gallery. The masses of color on which the text is printed are reminiscent of an animated sequence that appears in my latest film, Pain and Glory, though for this version I have chosen less bright colors, using muted shades of red, blue, green, and mauve. These colors correspond to the palette in which I seem to move lately.” Pre-orders available soon! Also on sale during the festival. #pedroalmodovar #painandglory

‪“Writing is really a way of thinking – not just feeling but thinking about things that are disparate, unresolved, mysterious, problematic or just sweet.”‬ R.I.P. Toni Morrison (1931-2019) In remembrance of the literary icon, Toni Morrison: The Pieces I Am will return to Film at Lincoln Center this Saturday and Sunday at noon.

Chantal Akerman: “When you see the images, you realize that New York has nothing to do with European ideas about it. The myth doesn’t connect at all with the reality of the city.” Akerman’s plangent News from Home is a movie enriched through its absences, wherein precisely composed street scenes are paired with recited letters from the filmmaker’s mother in Belgium. Plays this Wednesday at 9pm with shorts by Manuel DeLanda & Vivienne Dick.

R.I.P. D.A. Pennebaker (1925-2019)

The Umbrellas of Cherbourg director Jacques Demy’s tenure in Hollywood would begin and end with Model Shop, one of his most underrated pictures, starring Gary Lockwood as an aspiring architect and full-time layabout in Los Angeles who comes face-to-face with his own mortality when he learns he’s been called in for the draft. But chance encounters with a mysterious French woman (Anouk Aimée) suggest a new beginning. As ever an immaculate colorist, Demy captures the low-slung poetry of the lonely city in a style uniquely his own. Plays this Sunday at 3:30pm and Monday at 2pm!

The flowering of radical will across the U.S. in the late ’60s seized the imaginations of many directors in our series Another Country: Outsider Visions of America, Michelangelo Antonioni in particular. The protests he witnessed at the Democratic National Convention in Chicago proved catalytic, and the episode would eventually precipitate one of his most divisive films, Zabriskie Point, playing in 35mm this Saturday at 8:15pm and Sunday at 5:30pm. A student radical finds himself on the run after a violent clash with the police, escaping to Death Valley in a stolen plane. There he meets a young woman and in one of the movie’s most iconic sequences takes part in a dusty, surreal mass orgy. The real action here, however, is in the spectacular wide shots. “A country of such vastness,” the director reflected, “with such distances and such horizons, could not help but be molded in its dreams, illusions, tensions, its solitude, faith, innocence, optimism and desperation, its patriotism and revolt, its dimensions.”