Film at Lincoln Center has announced its full lineup of festival, repertory, and new release programming for the 2023 fall/winter season.
This fall at FLC brings new releases and several selections from the 61st New York Film Festival, including: Justine Triet’s Palme d’Or-winning Anatomy of a Fall, Rodrigo Moreno’s The Delinquents, Raven Jackson’s All Dirt Roads Taste of Salt, Todd Haynes’s May December, and Aki Kaurismäki’s Fallen Leaves.
Following the world premieres of episodes 1–3 at the 61st New York Film Festival, FLC is pleased to present the remaining seven episodes from Nathan Fielder (hot on the heels of his revelatory comic creation The Rehearsal) and Benny Safdie’s (Uncut Gems, NYFF57; Oppenheimer) 10-part series The Curse, marking the first time FLC is theatrically sneak-previewing an episodic series over the course of its original airing season.
FLC welcomes three-time Oscar-nominated director Wim Wenders (Pina, NYFF49) in person for the opening of his latest documentary Anselm, shot on ultra-high-resolution camera rigs and presented in 3D. The film traces the life of Anselm Kiefer, one of the most innovative and influential fine artists working today.
Additional highlights include two notable retrospectives: The Radical Cinema of Kijū Yoshida, paying homage to one of Japan’s greatest cinematic rebels with his first major retrospective in New York in years; and Desire/Expectations: The Films of Edward Yang, celebrating one of cinema’s most celebrated and sorely missed surveyors of the human condition.
Rendered in a dazzling mixture of 35mm and 16mm film stocks, FLC will present a new restoration of L’amour fou, Jacques Rivette’s remarkable exploration of the intersection of life and art, as the relationship between theater director Sebastian (Jean-Pierre Kalfon) and his actress wife Claire (Bulle Ogier) implodes amid rehearsals for his production of Racine’s Andromaque.
2023 will be capped off by Film Comment Live: Best of 2023, 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.
FILMS & SERIES DESCRIPTIONS
All films screen at the Walter Reade Theater (165 W. 65th St.) or Elinor Bunin Munroe Film Center (144 W. 65th St.).
Opens October 18
Anatomy of a Fall
Justine Triet, 2023, France, 150m
French and English with English subtitles
The winner of this year’s Palme d’Or at the Cannes Film Festival, Justine Triet’s drama is a riveting procedural and a delicate inquiry into the impossibility of an ultimate truth in human relationships. When the husband of famous novelist Sandra Voyter (played by Toni Erdmann’s Sandra Hüller) is found dead on the ground outside their chalet in the French Alps, authorities suspect that she might have been responsible, as the impact and position of his body suggest a push rather than a fall. This leads to a murder trial that puts every aspect of their marriage under impossible scrutiny, and whose outcome might hinge on the perspective of their vision-impaired 11-year-old son. Triet’s fiercely intelligent, emotionally devastating film dissects the ways we create subjective narratives for ourselves and others and questions the insufficiency of language to describe the essential mysteries each of us possesses. At its core is the brilliant Hüller, whose Sandra is articulate, open, and utterly inscrutable. An NYFF61 selection. A NEON release. Tickets now on sale.
Rodrigo Moreno, 2023, Argentina, 189m
Spanish with English subtitles
A heist picture unlike any other, The Delinquents upends genre expectations with a gentle yet deftly constructed existentialist fable. Timid bank clerk Morán (Daniel Elías), fed up with his dead-end middle-management job, decides one day to simply walk into the vault, pack a bag with enough cash to cover his salary until retirement age, and saunter out. Knowing he has been inevitably caught on security camera, Morán plans on turning himself in, but not before passing the stash along to his coworker Román (Esteban Bigliardi), now an accomplice who agrees to hold onto the money until Morán gets out of prison. From this gripping premise, Argentinean writer-director Rodrigo Moreno spins an endlessly surprising tale that moves into increasingly idyllic territory, adding layer upon layer to the twinned stories of these two men’s lives, and inquiring what it means to be free in a world of monetary satisfaction. An NYFF61 selection. A MUBI release. Tickets now on sale.
Opens October 20
L’amour fou (new 4K restoration!)
Jacques Rivette, 1969, France, 250m
French with English subtitles
A stage work forms while a marriage collapses in one of the most remarkable of Jacques Rivette’s many explorations of the intersection of life and art. Shooting in a dazzling mixture of 35mm and 16mm film stocks, Rivette cuts between an experimental theater company’s rehearsals for a production of Racine’s Andromaque, a television crew shooting a documentary of the performance, and the imploding relationship of the director Sebastian (Jean-Pierre Kalfon) and his actress wife Claire (Bulle Ogier). Gradually, Sebastian and Claire pull each other deeper into a violent emotional vortex until, in the film’s startling, hour-long pièce de résistance, they lock themselves inside their apartment and embark on what the critic Tom Milne termed “a veritable orgy of passion which can be called neither love nor hate.” An NYFF6 selection. A Janus Films release. 4K restoration carried out by Les Films du Losange with the support of Les Films du Veilleur and the CNC under the supervision of Caroline Champetier AFC. Tickets now on sale.
Opens November 3
All Dirt Roads Taste of Salt
Raven Jackson, 2023, USA, 97m
One of the most visually striking, profoundly moving American moviemaking debuts in years, Raven Jackson’s All Dirt Roads Taste of Salt is an arresting immersion into a young woman’s inner world, filmed and edited with an extraordinary tactility and attention to the tiniest detail. This impressionistic journey skips ahead and back through decades to tell the story of Mack, whose upbringing in rural Mississippi is touched by grace, dotted with heartbreak, and always carried aloft by the surrounding natural beauty. As she ages, she loses loved ones and gains others, while making decisions that change the course of her life, and that of her beloved sister. Relying on sounds and images to tell her story, and employing minimal dialogue, Jackson has created something breathtakingly quiet and ultimately transporting—a spiritual tribute to the moments, feelings, and connections that make a life. An NYFF61 selection. An A24 release.
Opens November 17
Todd Haynes, 2023, USA, 113m
Elizabeth (Natalie Portman), a popular television star, has arrived in a tight-knit island community in Savannah. Here, she will be doing intimate research for a new part, ingratiating herself into the lives of Gracie (Julianne Moore), whom she’ll be playing on-screen, and her much younger husband, Joe (Charles Melton), to better understand the psychology and circumstances that more than 20 years ago made them notorious tabloid figures. As Elizabeth attempts to get closer to the family, the uncomfortable facts of their scandal unfurl, causing difficult, long-dormant emotions to resurface. From the sensational premise born from first-time screenwriter Samy Burch’s brilliant script, director Todd Haynes (Safe, Carol) has constructed an American tale of astonishing richness and depth, which touches the pressure and pleasure points of a culture obsessed equally with celebrity and trauma. It’s a feat of storytelling and pinpoint-precise tone that is shrewd in its wicked embrace of melodrama while also genuinely moving in its humane treatment of tricky subject matter. Boasting a trio of bravura, mercurial performances by Moore, Portman, and Melton, May December is a film about human exploitation, the elusive nature of performance, and the slipperiness of truth that confirms Todd Haynes’s status as one of our consummate movie artists. NYFF61 Opening Night selection. A Netflix release.
Aki Kaurismäki, 2023, Finland, 81m
Finnish with English subtitles
Sweet-souled in story, scalpel-sharp in filmmaking precision, this enchanting love story from Finnish virtuoso Aki Kaurismäki circles around two financially strapped Helsinkians who keep finding and losing one another in a world that seems to be falling apart. Evoking dark-comic romances from his early career such as Shadows in Paradise and Ariel (NYFF27), the sardonic yet exquisitely melancholic Fallen Leaves devotes its wry, humane gaze to grocery clerk Ansa (Alma Pöysti) and construction laborer Holappa (Jussi Vatanen), who commence an on-again, off-again relationship of extreme tentativeness, while seeking employment and stability. As with the greatest of Kaurismäki’s films, everyday details register as grand, meaningful cinematic gestures. This filmmaker has scrupulously carved another fictive universe out of a handful of specific, vivid locations, yet Fallen Leaves very much takes place in the world we’re living in, which makes its surrender to hope all the more affecting. Winner of the Jury Prize at the 2023 Cannes Film Festival, and the official Finnish entry for Best International Feature Film at the 2024 Academy Awards. An NYFF61 selection. A MUBI release.
Opens December 8
Wim Wenders, 2023, Germany, 3D, 93m
German and English with English subtitles
Shot in 3D on ultra-high-resolution camera rigs, the latest documentary from three-time Oscar-nominated director Wim Wenders (Buena Vista Social Club, Salt of the Earth, Pina) traces the life of Anselm Kiefer, one of the most innovative and influential fine artists working today. For more than five decades, Kiefer’s paintings and sculptures have confronted his native Germany’s dark past through a vast network of cultural and philosophical references and with a distinctive focus on physical elements: from lead, glass, and textiles to found and incinerated organic matter. As he did for his sublime portrait of Pina Bausch in 2011, Wenders (born the same year as Kiefer during the last months of World War II) employs groundbreaking stereoscopic cinematography to transport us to key chapters of Kiefer’s early life in post-Nazi Germany and throughout his 100-acre studio in France, a present-day labyrinth of the artist’s haunting obsessions. Anselm, which debuted at this year’s Cannes Film Festival, is a portrait of an artist at work like you’ve never seen before—an indelible visual experience and a vivid tour of Kiefer’s imposing yet intricately textured works. A Sideshow and Janus Films release.
Wim Wenders in person!
November 2023 – January 2024
Nathan Fielder, Benny Safdie, 2023, USA
In this brilliantly discomfiting collaboration between Nathan Fielder (hot on the heels of his revelatory comic creation The Rehearsal) and Benny Safdie (Uncut Gems, NYFF57; Oppenheimer), Fielder and Emma Stone (La La Land; The Favourite, NYFF56) play Asher and Whitney Siegel, married entrepreneurs (don’t call them gentrifiers!) whose latest plan is to flip houses and convert them into eco-friendly homes for the struggling residents of Española, New Mexico—all for a home improvement-style reality show being overseen by an ingratiating producer (Safdie) with demons of his own. From this premise, which nimbly touches upon inescapable American issues of race, class, and capital, Fielder and Safdie branch out into an increasingly tangled network of ethical and moral gray zones, expertly balancing the tender and the merciless. Following the world premiere of episodes 1–3 at the 61st New York Film Festival, Film at Lincoln Center is pleased to present the remaining seven episodes from this genre-defying, riotously funny series, directed by Fielder and David and Nathan Zellner. An A24/Showtime release.
Episodes 4 & 5: Thursday, November 30, 7:00pm
Episodes 6 & 7: Thursday, December 14, 7:00pm
Episodes 8 & 9: Thursday, December 28, 7:00pm
Episode 10: Friday, January 12, at 7:00pm
December 1 – 8
The Radical Cinema of Kijū Yoshida
Of the iconoclastic Japanese filmmakers who rose to prominence in the 1960s, perhaps none worked as fearlessly and concertedly toward crafting an unapologetically subversive body of work than Kijū Yoshida (1933–2022). Starting his career as a young recruit to Shochiku’s directing apprenticeship system (alongside fellow enfant terrible Nagisa Ōshima), Yoshida’s earliest work finds him radically politicizing the commercially minded projects to which he was assigned, frequently in collaboration with the actress Mariko Okada, who would become his wife and lifelong creative partner. They soon moved away from the mainstream film industry entirely in order to create increasingly ambitious, eminently political films together, exemplified by their epochal Eros + Massacre (1969), a legendary work that traces a visionary counter-history of radical art and politics in Japan. An intrepid experimentalist whose films confront the political issues of his day with a keen interest in the taboo and a staunch refusal to be confined to any one formal approach, Yoshida’s oeuvre endures as one of Japanese cinema’s wildest and most intellectually stirring. Join us at Film at Lincoln Center as we pay homage to one of Japan’s greatest cinematic rebels with his first major retrospective in New York in years.
Presented in partnership with the Japan Foundation, New York. Organized by Dan Sullivan.
December 22, 2023 – January 2, 2024
Desire/Expectations: The Films of Edward Yang
The films of Edward Yang (1947–2007) were among the first to capture the ethos of Taiwan’s rapid modernization—particularly Taipei urbanites adjusting to their global city’s ever-evolving zeitgeist—even as they exhibited a novelistic field of vision that superseded time and place. Born in Shanghai and brought to Taiwan by his family in 1949 after the end of the Chinese Civil War, Yang emerged in the early 1980s as a leading figure of the ascendant Taiwanese New Wave with his contribution to the seminal omnibus film In Our Time (1982). He remained a cinematic guiding light of his country’s first postwar generation up to his magnum opus, Yi Yi (2000, NYFF38). Grounding his films in a realist aesthetic—perhaps partly owed to his formal training as a computer engineer—Yang zealously responded to the world’s changes across seven expansive features, each one notable for its sprawling, unconventional narrative structure, effortlessly precise compositions, and largely non-professional casts that expressed a heartfelt, near-omniscient understanding of life on the small island nation. Likening any one of his films to a “very intimate letter to a very good friend,” Yang defined the intricacies of interpersonal relationships (among different generations and classes) with a depth of storytelling and intimacy of style that call for multiple viewings to parse. This winter, Film at Lincoln Center is pleased to celebrate one of cinema’s most celebrated and sorely missed surveyors of the human condition.
Presented with the support of Janus Films. Organized by Florence Almozini and Tyler Wilson.
Film Comment Live: Best of 2023 – Free!
Join Film Comment 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 RSVP for this free event!