Film at Lincoln Center announces its lineup of repertory and new release programming for the 2025 fall and winter season, from October through December, as well as the 2026 schedule for FLC’s returning annual festivals.

Selections from the 63rd New York Film Festival comprise FLC’s slate of new releases, with an array of acclaimed filmmakers returning to FLC for Q&As following select screenings. New releases coming soon to FLC include Jafar Panahi’s Palme d’Or winner It Was Just an Accident, Kelly Reichardt’s The Mastermind, Richard Linklater’s Nouvelle Vague, Oliver Laxe’s Sirāt, Kleber Mendonça Filho’s The Secret Agent, Bi Gan’s Resurrection, Jim Jarmusch’s Father Mother Sister Brother (winner of the Venice Film Festival Golden Lion), and Ira Sachs’s Peter Hujar’s Day, which will be accompanied by a selection of Hujar’s portraits on display in the Furman Gallery at the Walter Reade Theater.

This December, FLC will also celebrate one of Japanese cinema’s most underrated filmmakers with a rare retrospective of the films of Kōzaburō Yoshimura. One of the most accomplished yet underappreciated figures of the golden age of Japanese cinema, Yoshimura began his career in the 1930s and continued working into the 1970s, focusing his wide-ranging work on the plight of women throughout Japanese history. 

FLC will close out the year with Film Comment Live: Best of 2025, the annual overview of the high points of contemporary film culture with Film Comment editors Devika Girish and Clinton Krute and a panel of special guests leading a real-time countdown of the results of Film Comment’s year-end critics’ poll.

Looking ahead to 2026, FLC’s highly anticipated annual festivals return to offer audiences the opportunity to discover works from established and emerging filmmakers spanning a wide range of cultures and countries. These include the New York Jewish Film Festival, Rendez-Vous with French Cinema, New Directors/New Films, New York African Film Festival, Open Roads: New Italian Cinema, and more to be announced. 

As previously announced, FLC will also host two special screenings of Paul Thomas Anderson’s newest film, One Battle After Another, on 70mm at the Walter Reade Theater on September 21, with Anderson and members of the cast, including Leonardo DiCaprio, Sean Penn, Benicio Del Toro, Regina Hall, Teyana Taylor, and Chase Infiniti, in person for a Q&A. The 63rd New York Film Festival, presented by FLC in partnership with Rolex, will then kick off on September 26 and continue through October 13.

Film descriptions and additional details are listed below and on filmlinc.org. New releases and revival runs are organized by Florence Almozini and Tyler Wilson. Annual festivals are organized by Florence Almozini, Dan Sullivan, Madeline Whittle, Tyler Wilson, Katie Zwick, Manuel Santini, and Regina Riccitelli.

FALL 2025 PROGRAMMING

• One Battle After Another (September 21)
• 63rd New York Film Festival (September 26-October 13)
• It Was Just an Accident (opens October 15)
• The Mastermind (opens October 17)
• Nouvelle Vague (opens October 31—first week presented on 35mm!)
• Peter Hujar’s Day (opens November 7)
• Sirāt (opens November 14—exclusive one-week engagement!)
• The Secret Agent (opens November 26)
• Kōzaburō Yoshimura (December 5-11)
• Film Comment Live: Best of 2025 (December 11)
• Resurrection (opens December 12)
• Father Mother Sister Brother (opens December 24)

2026 ANNUAL FESTIVAL SCHEDULE

• New York Jewish Film Festival (January 14-28, 2026)
• Rendez-Vous with French Cinema (March 5-15, 2026)
• New Directors/New Films (April 8-19, 2026)
• New York African Film Festival (May 6-12, 2026)
• Open Roads: New Italian Cinema (May 28-June 4, 2026)

FILMS & SERIES DESCRIPTIONS
All films screen at the Walter Reade Theater (165 W 65th Street) or Elinor Bunin Munroe Film Center (144 W 65th Street)

September 21
One Battle After Another
Paul Thomas Anderson, 2025, U.S., 70mm, 162m

One Battle After Another. Courtesy of Warner Bros. Pictures.

Two special 70mm screenings of Paul Thomas Anderson’s newest film, One Battle After Another, on September 21 at the Walter Reade Theater. This New York special presentation screening will feature Anderson and members of the cast, including Leonardo DiCaprio, Sean Penn, Benicio Del Toro, Regina Hall, Teyana Taylor, and Chase Infiniti, in person for a Q&A following the conclusion of the first screening.

September 26-October 13
63rd New York Film Festival

After the Hunt. Courtesy of Amazon MGM Studios.

Presented by Film at Lincoln Center in partnership with Rolex, the New York Film Festival is an annual celebration of the most significant films from around the world. Since its inception in 1963, NYFF has played a pivotal role in shaping film culture, presenting a curated selection of films that define the year in cinema, with new works by acclaimed directors alongside emerging talents. Explore the lineup and schedule. Tickets go on sale September 18 at noon, with pre-sale access for FLC Members and pass holders.

Opens October 15
It Was Just an Accident
Jafar Panahi, 2025, Iran/France/Luxembourg, 103m
Persian with English subtitles

It Was Just an Accident. Courtesy of NEON.

Jafar Panahi (No Bears, NYFF60) reaffirms his status as one of this century’s great cinematic heroes with perhaps his bravest film yet, which won him the Palme d’Or at the 2025 Cannes Film Festival. Ever since he was arrested, imprisoned, and banned from making movies by the Iranian government 15 years ago, Panahi has found ways of producing films in secret and without official permission. Working once again with a courageous cast and crew, he shows both his political risk-taking and confident command of craft in his most explicit attack on his country’s repressive regime—a cutting and darkly humorous thriller that concerns a mechanic, Vahid (Vahid Mobasseri), who believes he has reencountered by chance the government intelligence officer, Eghbal (Ebrahim Azizi), who had tortured him while under detainment. As Vahid enlists the services of acquaintances whose lives were also forever altered by Eghbal’s cruelties, the thirst for revenge and the sense of danger escalate—as do questions of moral choice and culpability. An NYFF63 Main Slate selection. A NEON release.

Opens October 17
The Mastermind
Kelly Reichardt, 2025, U.S., 110m

The Mastermind. Courtesy of MUBI.

In early-1970s Framingham, Massachusetts, taciturn family man James (Josh O’Connor) makes the rash, largely inscrutable decision to orchestrate a heist at the local art museum, absconding with a selection of modern paintings—without much of a plan. This autumnal, restrained, and often quite funny anti-thriller from Kelly Reichardt (Showing Up, NYFF60) sets this low-key criminal enterprise against a Nixon-era backdrop of alienation and political disillusionment. As always, Reichardt’s impeccable craft is front and center: the film’s naturalism and remarkable period detail creating a portrait of unerring authenticity and psychological mystery. Whether driven by social apathy or artistic passion, James—effortlessly played by O’Connor with hangdog elegance—registers as a compelling update of the ’70s American male loner archetype for another dispiriting, directionless time. An NYFF63 Main Slate selection. A MUBI release.

Opens October 31 – First week presented on 35mm!
Nouvelle Vague
Richard Linklater, 2025, France, 35mm, 106m

Nouvelle Vague. Courtesy of Netflix

The spirit of cinematic revolution is alive and well in Richard Linklater’s (Last Flag Flying, NYFF55 Opening Night) affectionate and wildly entertaining passion project, which transports the viewer back to a creative landmark: the 1959 making of Jean-Luc Godard’s Breathless. Played with uncanny Proustian precision by the extraordinary Guillaume Marbeck, Godard desires to make his own mark as a filmmaker, envious of the big-screen success of his fellow Cahiers du cinéma critics François Truffaut and Claude Chabrol. Working from—if only gesturing to—Truffaut’s noir-inspired script treatment, Godard embarks on his runaway production on the streets of Paris, determined to make a work of intellectual honesty and moral integrity, while fending off the frustrations of producer Georges de Beauregard (Bruno Dreyfürst), playfully sparring with star Jean-Paul Belmondo (Aubry Dullin), and ignoring the bemused protestations of leading lady Jean Seberg (a winsome Zoey Deutch). Shot on film in black-and-white and edited with a restless elegance that echoes the Nouvelle Vague ethos that Breathless all but created, Linklater’s film is a buoyant expression of the importance of artistic freedom and ingenuity from one of contemporary American cinema’s true independent souls. An NYFF63 Spotlight selection. A Netflix release.

Opens November 7
Peter Hujar’s Day
Ira Sachs, 2025, U.S., 76m

Peter Hujar’s Day. Courtesy of Janus Films.

The photographer Peter Hujar, whose images exist in an important lineage and dialogue with the work of groundbreaking gay artists such as Robert Mapplethorpe and David Wojnarowicz, forms the center of the latest movie by fearless independent American filmmaker Ira Sachs (Passages). Based on rediscovered transcripts from an unused 1974 interview by nonfiction writer Linda Rosenkrantz (played by Rebecca Hall), in which she asked Hujar (Ben Whishaw) to narrate the events of the previous day in minute detail, Sachs’s film is a mesmerizing time warp, an illustration of the life of the creative mind, the quotidian and the imaginative at once, fully and lovingly inhabited by its two brilliant actors. With this engrossing and wholly unexpected film, Sachs shuttles us back to a specific moment in New York queer cultural history and a still-influential art scene that lives on in words as much as images. An NYFF63 Main Slate selection. A Janus Films release.

Opens November 14 – Exclusive one-week engagement
Sirāt
Oliver Laxe, 2025, France/Spain, 115m
Spanish and French with English subtitles

Sirāt. Courtesy of NEON.

The glorious and forbidding Moroccan desert provides the backdrop for this extraordinary psychological journey from Oliver Laxe (Fire Will Come, NYFF57), a Galician filmmaker of startling ambition. Sergi López plays middle-aged Luis, whose worry over the disappearance of his daughter Mar has brought him, along with his young son, to Morocco. He believes she has fallen in with a group of nomadic thrill-seekers who are in pursuit of the next big rave in the desert. Tagging along with them in a makeshift caravan in the hopes he will find Mar, Luis is pushed toward emotional and physical extremes that extend far past his everyday comprehension. Even beyond the pulsing techno soundtrack and the majestic desolation of the landscape, Sirāt (the title referring to the Islamic term for the razor-thin bridge between heaven and hell) creates a sensory experience of audacity and shock that touches the sublime. Joint winner of the Jury Prize at this year’s Cannes Film Festival. An NYFF63 Main Slate selection. A NEON release.

Opens November 26
The Secret Agent
Kleber Mendonça Filho, 2025, Brazil/France/Netherlands/Germany, 159m
Portuguese with English subtitles

The Secret Agent. Courtesy of NEON.

The Brazilian director Kleber Mendonça Filho, who has gifted us such breathtakers as Aquarius (NYFF54) and Bacurau (NYFF57), returns with a thrillingly unpredictable, empowering political fable about people swept up in forces beyond their control. A dynamic, shape-shifting epic set in Mendonça’s hometown of Recife during the late 1970s, The Secret Agent earned him the Best Director award at Cannes. Wagner Moura was also deservedly honored as Best Actor at the festival for his magnetic performance as a widowed former university researcher whose life has been violently upended by the greed and vengeance of a government bureaucrat. On the run and living under an alias during the country’s military dictatorship, he tries to escape, while also reconnecting with the young son he had to leave behind. Even this brief description cannot fully prepare the viewer for the zigzagging subplots and delights of Mendonça’s eccentric and affectionate ode to the movies and the Brazil of his youth—and to maintaining individuality amid abuses of power. An NYFF63 Main Slate selection. A NEON release.

December 5-11
Kōzaburō Yoshimura

The Ball at the Anjo House

One of the most accomplished yet underappreciated figures of the golden age of Japanese cinema, Kōzaburō Yoshimura began his career with Shochiku in the 1930s, where he formed a pivotal partnership with the screenwriter (and legendary director in his own right) Kaneto Shindo, and would continue working into the 1970s. Along the way, Yoshimura and Shindo would found an influential independent production company, Kindai Eiga Kyokai, while at the same time, Yoshimura directed some of the period’s finest dramas for Daiei. His wide-ranging work often depicted the plight of women throughout Japanese history, but especially in the postwar era, as tensions between the old and the new rumble beneath the placid, traditional surfaces of Japanese society and the winds of change are always blowing. A formidable director of actresses, Yoshimura consistently anchored his films—particularly those of the 1950s—with indelible female performances from the likes of Machiko Kyō, Mariko Okada, and Fujiko Yamamoto, among others. His proclivity for focusing on the female experience frequently earned him comparisons to his peer, Kenji Mizoguchi. This December, join us for a rare retrospective dedicated to one of Japanese cinema’s most underrated helmers, a director whose work has grown even more beautiful and profound with time.

Presented in partnership with the Japan Foundation, New York. Organized by Dan Sullivan.

December 11
Film Comment Live: Best of 2025

Join Film Comment magazine for its annual overview of the high points of contemporary film culture as editors Devika Girish and Clinton Krute and a panel of special guests lead a real-time countdown of the results of Film Comment’s year-end critics’ poll. The evening will feature a lively discussion (and some hearty debate!) about the films as they’re unveiled. Subscribe to the Film Comment Letter to receive more information about this event. 

Opens December 12
Resurrection
Bi Gan, 2025, China, 156m
Chinese with English subtitles

Resurrection

This phantasmagoric dream machine from visionary Chinese director Bi Gan (Long Day’s Journey Into Night, NYFF56) is an elusive yet monumental love letter to a century of cinema. Unfolding over five chapters that feature a dazzling array of styles, Resurrection is a cascade of imagery united by a luminous mythopoetic conceit: in a sci-fi-coded world where people have lost the desire to dream in the hopes of prolonging life, rogue “fantasmers” continue to stoke their imaginations and exist within unreality. From this magical premise, the film sends its ever-morphing protagonist (Jackson Yee) through a series of genres, from Méliès-inflected silent fantasy to wartime thriller to con-artist buddy picture to millennial vampire romance—the latter depicted in one of Bi’s customary, and ever astonishing, single takes. Even within genre parameters, the director never takes the road well-traveled, offering jolts and marvels around every corner. Resurrection is one of the most audacious and ambitious gifts for cinematic thrill-seekers in many a moon. An NYFF63 Main Slate selection. A Janus Films release.

Opens December 24
Father Mother Sister Brother
Jim Jarmusch, 2025, U.S., 110m

Father Mother Sister Brother. © Vague Notion / MUBI – photo credit: Yorick Le Saux

For years, Jim Jarmusch has written, directed, and produced delicate, character-driven films, including Stranger Than Paradise (NYFF22), Down by Law (NYFF24 Opening Night), Only Lovers Left Alive (NYFF51), and Paterson (NYFF54). Winner of the Venice Film Festival Golden Lion, Father Mother Sister Brother is a perceptive study in familial dynamics, a feature film carefully constructed in the form of a triptych. The three chapters all concern the relationships between adult children reconnecting or coming to terms with aging or lost parents, which take place in the present, and each in a different country. Siblings Jeff and Emily (Adam Driver and Mayim Bialik) check up on their hermetic father (Tom Waits) in rural New Jersey; sisters Lilith and Timothea (Vicky Krieps and Cate Blanchett) reunite with their guarded novelist mother (Charlotte Rampling) in Dublin; and twins Skye and Billy (Indya Moore and Luka Sabbat) return to their Paris apartment to address a family tragedy. Father Mother Sister Brother is a kind of anti-action film, its subtle and quiet style carefully constructed to allow small details to accumulate—almost like flowers being carefully placed in three delicate arrangements. As always, Jarmusch brings his worlds to life with the essential assistance of his collaborators, including two masterful cinematographers, Frederick Elmes and Yorick Le Saux, and the brilliant editor Affonso Gonçalves. NYFF63 Centerpiece selection. A MUBI release.

2026 ANNUAL FESTIVAL SCHEDULE

January 14-28
New York Jewish Film Festival
Presented in partnership with The Jewish Museum

The Jewish Museum’s Jens Hoffmann moderates the Q&A with Moon in the 12th House director Dorit Hakim and actress Yuval Scharf. Photo by Mettie Ostrowski.

The Jewish Museum and Film at Lincoln Center are delighted to continue their partnership for the 35th annual New York Jewish Film Festival. Spotlighting the finest documentary, narrative, and short films from around the world that explore the Jewish experience, NYJFF is among the oldest and most influential Jewish film festivals worldwide.

March 5-15, 2026
Rendez-Vous with French Cinema
Presented in partnership with Unifrance

Meeting with Pol Pot premiere at 2025 Rendez-Vous with French Cinema. Photo by Arin Sang-urai.

Rendez-Vous with French Cinema returns in 2026 with another edition that exemplifies the variety and vitality of contemporary French filmmaking. The films on display, by emerging talents and established masters, raise ideas both topical and eternal, and many take audiences to entirely unexpected places. Co-presented with UniFrance, the 31st edition of Rendez-Vous with French Cinema will demonstrate that the landscape of French cinema is as fertile, inspiring, and distinct as ever.

April 8-19, 2026
New Directors/New Films
Presented in partnership with MoMA

Lurker. Courtesy of MUBI.

Founded in 1972, the New Directors/New Films festival is jointly presented by Film at Lincoln Center and The Museum of Modern Art, showcasing a wide-ranging group of films by emerging directors working at the vanguard of cinema. Throughout its history, the festival has presented works by Hou Hsiao-Hsien, Kelly Reichardt, Pedro Almodóvar, Souleymane Cissé, Euzhan Palcy, Jia Zhangke, Spike Lee, Lynne Ramsay, Michael Haneke, Wong Kar Wai, Agnieszka Holland, Ryûsuke Hamaguchi, Guillermo del Toro, Luca Guadagnino, and more than a thousand other filmmakers.

May 6-12, 2026
New York African Film Festival
Presented in partnership with African Film Festival, Inc.

A discussion at the 23rd New York African Film Festival town hall event. Photo by Lindsey Seide.

Film at Lincoln Center and African Film Festival, Inc. are excited to announce the 33rd edition of the New York African Film Festival. Since its inception in 1993, the festival has been at the forefront of showcasing African and diaspora filmmakers’ unique storytelling through the moving image. 

May 28-June 4
Open Roads: New Italian Cinema
Presented in partnership with Cinecittà

Piranhas Opening Night premiere at Open Roads: New Italian Cinema 2019. Photo by Julie Cunnah.

Returning for its 25th edition, Open Roads: New Italian Cinema is the leading screening series to offer North American audiences a diverse and extensive lineup of contemporary Italian films. The series strikes a balance between emerging talents and esteemed veterans; commercial and independent fare; and outrageous comedies, gripping dramas, and captivating documentaries.