Film at Lincoln Center announces its lineup of repertory, festival, and new release programming for the upcoming spring season, from April through June 2026.

Many festival favorites will be making their return to Film at Lincoln Center this spring. Selections from this year’s Rendez-Vous with French Cinema include François Ozon’s The Stranger, which opens the festival and earned four César Award nominations, winning Best Supporting Actor for Pierre Lottin; and Hafsia Herzi’s The Little Sister, which earned star Nadia Melliti the Cannes Best Actress Award and the César Award for Best Female Newcomer, among six César nominations for the film. Highlights from the 63rd New York Film Festival opening at FLC include Francesco Sossai’s wistful hangout movie The Last One for the Road; Milagros Mumenthaler’s The Currents, a work of compelling psychological interiority; Mark Jenkin’s Rose of Nevada, a sci-fi-tinged tale starring George MacKay and Callum Turner; and Carla Simón’s poignantly autobiographical Romería. 

FLC will present a number of special repertory series in the coming months, beginning with the first-ever U.S. theatrical release of Maurice Pialat’s immense, seven-part chronicle La maison des bois, exclusively premiering at FLC in a new 4K restoration from Janus Films. Alongside the series, FLC will screen three essential Pialat features—L’enfance nue, Graduate First, and À nos amours—each approaching the fixations that shaped the director’s epic tale.

In a much anticipated retrospective, FLC will celebrate internationally beloved film icon Tony Leung, the defining face of the Hong Kong New Wave and star of such classics as In the Mood for Love and Chungking Express. Leung’s signature works from throughout his career will be presented on the occasion of the release of his newest film, Ildikó Enyedi’s Silent Friend, with Leung in person at FLC for the first time in more than 25 years for select screenings. 

A transformative time period in cinema and its influence on the films of today will be explored in Korean Cinema’s Celluloid Fever: The 1970s, including rare archival prints and new restorations of some of the most daring and emotionally charged filmmaking in Korean history. 

In another celebration of influential figures in cinema, FLC will host a tribute to experimental film luminaries Ken and Flo Jacobs on April 20, as part of a multi-venue memorial event at theaters across New York City throughout April. The evening will feature a double bill of acclaimed director Azazel Jacobs’s 2008 feature Momma’s Man starring parents Ken and Flo, followed by Ken’s seminal 1968 NYC document-cum-meditation on the post-Holocaust world, The Sky Socialist (also starring Flo). Azazel will be in person at FLC for an on-stage conservation following Momma’s Man.

An additional special event at FLC will feature the world premiere of Shannon Kring’s vital documentary Nine Little Indians on May 27, an urgent portrait of a family’s decades-long fight for acknowledgement, justice, and healing. The screening will open with a prayer song led by Lakota historian and ceremonialist Darrell Red Cloud, and will be followed by a panel discussion with Kring, Red Cloud, producer George DiCaprio, and film participants Yvonne “Pat” Charbonneau, Gregory A. Yates, and Dr. Marsha Small.

Returning annual festivals include New Directors/New Films (April 8–19), showcasing a wide-ranging group of films by emerging directors working at the vanguard of cinema; the New York African Film Festival (May 6–12), presenting African and diaspora filmmakers’ unique storytelling through the moving image; and Open Roads: New Italian Cinema (May 28–June 4), offering audiences an extensive lineup of contemporary Italian films.

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.

SPRING 2026 PROGRAMMING

• The Stranger (opens April 3)
• New Directors/New Films (April 8–19)
• The Whole Shebang: Celebrating Ken and Flo Jacobs (April 20)
• La maison des bois (April 22–28)
• The Grandmaster: Tony Leung (April 29–May 7)
• The Last One For the Road (opens May 1)
• New York African Film Festival (May 6–12)
• Silent Friend (opens May 8)
• Korean Cinema’s Celluloid Fever: The 1970s (May 15–26)
• Nine Little Indians (May 27)
• Open Roads: New Italian Cinema (May 28–June 4)
• The Currents (opens May 29)
• The Little Sister (opens June 5)
• Rose of Nevada (opens June 19)
• Romería (opens June 26)

Sign up for additional updates and get pre-sale access for select programming by becoming a FLC Member.

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

Opens April 3
The Stranger
François Ozon, 2025, France, 122m
French with English subtitles

The Stranger. Courtesy of Music Box Films.

After teaming with Benjamin Voisin for the actor’s breakout role in Summer of 85, François Ozon reunites with that film’s star and a cast that includes Rebecca Marder, Pierre Lottin, Swann Arlaud, and Denis Lavant for a bold new envisioning of Albert Camus’s novel. In a part previously played by Marcello Mastroianni in Luchino Visconti’s 1967 adaptation, Voisin definitively embodies Meursault, the tightly coiled center of a narrative that recounts a murder in Algiers under French colonial rule. While staying faithful to the chilly, fascinating darkness of Camus’s existential classic, Ozon also gives new life to the canonical text, not least by bringing Algeria to the thematic and visual foreground in this adaptation. Shooting in starkly blown-out black and white that suggests the oppressive heat of Meursault’s surroundings, Ozon’s sensitive, queer-inflected reading of Camus’s classic rises to the challenge with appropriately enigmatic elegance. Winner of the César Award for Best Supporting Actor (Lottin) and three Lumières Awards, including Best Film and Best Actor (Voisin). Opening Night selection, Rendez-Vous with French Cinema 2026. A Music Box Films release.

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

Familiar Touch at New Directors/New Films 2025. Photo by Arin Sang-urai.

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 Pedro Almodóvar, Gregg Araki, Souleymane Cissé, Luca Guadagnino, Ryûsuke Hamaguchi, Agnieszka Holland, Hou Hsiao-hsien, Wong Kar-wai, Yorgos Lanthimos, Spike Lee, Richard Linklater, Julia Loktev, Kelly Reichardt, Steven Spielberg, Denis Villeneuve, Jia Zhangke, and many others.

April 20
The Whole Shebang: Celebrating Ken and Flo Jacobs

Flo and Ken Jacobs.

Spanning the entire month of April, The Whole Shebang: Celebrating Ken and Flo Jacobs is a 14-venue cinema salute to two of experimental cinema’s most beloved icons. Ken (1933–2025) and Flo (1941–2025) were inseparable sweethearts and creative partners from the day they met in 1962, and while their passing last year left cinephiles bereft, it also provides a welcome opportunity to survey their enormous and extraordinary film and digital oeuvre. The Whole Shebang represents an unprecedented aligning of venues across the city, all of whom presented and championed the Jacobs’ uncompromising output during the last six-plus decades. Featuring key works, many theatrical and world premieres, and plenty of deep cuts, this sweeping festival serves as both a remembrance and an introduction to the duo’s remarkable achievements and impossible-to-categorize genius. Organized by Andrew Lampert, this collective tribute will unfold over April with screenings at: L’Alliance New York, Anthology Film Archives, BAM Cinema, Film-Makers’ Cooperative, Film at Lincoln Center, Light Industry, Metrograph, Millennium Film Workshop, The Museum of Modern Art, Museum of the Moving Image, Rockaway Film Festival, The Roxy Cinema, Spectacle Theater, and UnionDocs. Visit each org’s website for programming info.

On April 20, FLC will host Ken and Flo’s son, acclaimed director Azazel Jacobs (French Exit), for a special double bill of his 2008 film Momma’s Man (starring his parents), followed by Ken’s seminal 1968 NYC document-cum-meditation on the post-Holocaust world, The Sky Socialist (also starring Flo), with an on-stage conservation with Jacobs following Momma’s Man.

April 22-28
La maison des bois
Maurice Pialat, 1971, France, 364m
French with English subtitles
U.S. Theatrical Premiere

La maison des bois. Courtesy of Janus Films.

Long spoken of as Maurice Pialat’s “best film” and rarely seen in proper conditions, La maison des bois comes to FLC in its first-ever U.S. theatrical release and in a brand-new 4K restoration. Made for French television in 1971, when Pialat was 45 and had only L’Enfance nue behind him, the seven-part series unfolds in a village north of Paris during World War I, where a gamekeeper and his wife take in three displaced Parisian boys. At its emotional center is 10-year-old Hervé, whose father is at the front and whose mother has abandoned him; through his eyes we watch a tightly bound rural community slowly unsettled by the war’s advancing shadow. Eschewing battlefields for kitchens, schoolhouses, taverns, and country roads, Pialat builds his epic from accumulating details that feels at once spontaneous and novelistic in scope. Tender yet unsentimental, it stands among the great, underseen achievements of postwar French filmmaking. Restored in 4K by INA. A Janus Films release. 

Three by Maurice Pialat
On the occasion of this long-overdue theatrical release, FLC will present three Pialat features—L’enfance nue, Graduate First, and À nos amours—each approaching, from a distinct vantage point, the fixations that shape the director’s great television epic. Spanning postwar foster care, late-1970s provincial adolescence, and a combustible Parisian household, these films return again and again to young people navigating families and institutions, and to the volatile, often contradictory impulses that other films fall prey to soften or sensationalize. Seen together, they form not merely a companion program but a close encounter with Pialat’s resistance to tidy psychologizing, his singular capacity to channel documentary immediacy into rigorously composed scenes, and his nerve-exposing gift for drawing performances, especially from young actors, that feel wholly lived. Whether as entry points into the world of La maison des bois or as opportunities to revisit these works in the Walter Reade Theater, they reaffirm the fierce consistency with which Pialat pursued emotional truths.

Organized by Florence Almozini, Vice President of Programming, Film at Lincoln Center, and Tyler Wilson, Senior Programmer, Film at Lincoln Center.

April 29-May 7
The Grandmaster: Tony Leung

Chungking Express

The defining face of the Hong Kong New Wave, an international icon of romantic longing and existential searching, Tony Leung Chiu-wai has made restraint his signature. Across five decades of genre-spanning, globally celebrated work, he embodies the radical idea that the most resonant performances are often the most controlled; that minimalism can be magnetic, hypnotically complex, and aching with emotional depth. After winning fans as a fresh-faced television heartthrob in 1980s Hong Kong, one of TVB’s celebrated “Five Tiger” young idols, Leung established his early command of both interior drama and high-stakes action in Hou Hsiao-hsien’s A City of Sadness and John Woo’s Bullet in the Head. He then went on to forge one of contemporary cinema’s most enduring actor-director partnerships with Wong Kar Wai, spanning seven films in which his quiet volatility, emotional reserve, and uncanny fluency in the language of longing found their purest expression. Their project reached perhaps its sublime apex with In the Mood for Love, which earned him the Best Actor prize at Cannes—the first Hong Kong actor to receive the honor. Since then, his filmography has expanded into something both vast and remarkably cohesive, with indelible performances in the landmark cops-and-triads thriller Infernal Affairs (later remade as The Departed), Ang Lee’s lush wartime melodrama Lust, Caution, Woo’s historical epic Red Cliff, and even a rare, scene-stealing turn in the Marvel Cinematic Universe. Presented ahead of the theatrical release of his first European venture, Ildikó Enyedi’s Silent Friend, this career-spanning retrospective will feature in-person appearances by the actor himself, marking his first return to Film at Lincoln Center in more than 25 years, and giving audiences the chance to rediscover, on the big screen, why the world continues to fall for Tony Leung time and time again.

Organized by Florence Almozini, Vice President of Programming, Film at Lincoln Center, and Tyler Wilson, Senior Programmer, Film at Lincoln Center.

The Grandmaster: Tony Leung is sponsored by Criterion, your trusted home for great cinema.

Opens May 1
The Last One For the Road
Francesco Sossai, 2025, Italy/Germany, 100m
Italian with English subtitles

The Last One for the Road © Vivo Film, Maze Pictures

Aimlessly if coolly navigating the absurdities of middle age, Doriano (Pierpaolo Capovilla) and Carlo (Sergio Romano) make for delightful company in Italian director Francesco Sossai’s genial, wistful hangout movie. The two best friends, who can never seem to make that “one last drink” truly the last, imbibe and bicker and trade anecdotes as they traverse the Venetian countryside, befriending an anxious architecture student, Giulio (Filippo Scotti), who’s cramming for an upcoming design exam. Imparting their screwball wisdom to Giulio, and even roping the younger man into some of their half-baked capers, Doriano and Carlo are welcome emissaries from an increasingly lost generation, disillusioned and adrift in our mercenary world yet holding on to the fleeting joys of life. Sossai has created a freeform, energetic comedy that echoes work by Aki Kaurismäki and Richard Linklater yet has its own beautiful sense of rhythm and revelation. An NYFF63 Main Slate selection. A Music Box Films release. 

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

Opening Night of the 25th New York African Film Festival. 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. 

Opens May 8
Silent Friend
Ildikó Enyedi, 2025, Germany/France/Hungary, 147m
German, English, and Cantonese with English subtitles

Silent Friend. Courtesy of 1-2 Special.

Ildikó Enyedi, whose On Body and Soul won the Golden Bear at the 2017 Berlinale and earned an Academy Award nomination for Best International Feature Film, returns with a century-spanning triptych that moves from 1908 to the early months of the pandemic, unfolding around an ancient ginkgo in the botanical garden of Marburg University, the fixed witness to a century’s worth of passing faces. From a young woman forcing her way into the male-dominated scientific establishment at the dawn of the 20th century (played by Luna Wedler, winner of the Marcello Mastroianni Award for Best Young Actress at the 2025 Venice Film Festival), to idealistic lovers in the politically turbulent 1970s, Enyedi considers how consciousness itself is historically situated, mapping the incremental rewiring of how people think and connect over time. Tony Leung anchors the 2020 chapter with a characteristically subtle, deeply felt performance as a visiting neuroscientist stranded on campus during lockdown, whose attempt to measure the tree’s electromagnetic signals—guided remotely by a French plant biologist, played by Léa Seydoux—gradually opens into a meditation on perception itself. Shifting between silvered monochrome 35mm, warm 16mm, and digital macro-photography, Silent Friend attends to the rhythms of time in all its forms, where the tremor of a leaf in late afternoon carries the same gravity as a held glance across a room. A 1-2 Special release.

May 15-26
Korean Cinema’s Celluloid Fever: The 1970s

The Korean Connection

In the years following South Korea’s widely celebrated cinematic renaissance of the 1960s, a new generation of filmmakers inherited an industry under siege. Television had decimated theatrical attendance, and Park Chung Hee’s Yushin regime transformed state censorship into a stranglehold over what could be made, shown, or said on screen. Yet despite these constraints—or because of them—the 1970s yielded some of the most daring and emotionally charged filmmaking in Korean history. This long-dismissed decade produced extraordinary works by Ha Gil-jong, Kim Ki-young, Kim Soo-yong, Lee Doo-yong, Lee Jang-ho, and Lee Man-hee, alongside genre innovations that permanently reshaped the industry’s DNA. The era witnessed the emergence of two prominent artistic movements: the Visual Age, a cohort of directors inspired by the French New Wave; and Kaidu Club, Korea’s first feminist film collective, founded by Han Okhi. Contemporary Korean cinema’s extraordinary genre sophistication and its affinity for embedding social critique within the forms of popular entertainment, as exemplified by the works of Bong Joon Ho and Park Chan-wook, were forged under duress over this turbulent period. This May, Film at Lincoln Center and Subway Cinema are proud to present rare archival prints and new restorations of films whose significance to world cinema is only now being fully recognized.

Organized by Young Jin Eric Choi, Goran Topalovic, and Madeline Whittle. Co-presented by Subway Cinema in collaboration with the Korean Cultural Center New York and the Korean Film Archive.

Korean Cinema’s Celluloid Fever: The 1970s is sponsored by MUBI, the global streaming service, production company, and film distributor dedicated to elevating great cinema.

May 27
Nine Little Indians
Shannon Kring, 2026, U.S., 100m
World Premiere

Nine Little Indians

In 2008, the nine Charbonneau daughters (now mothers, grandmothers, and great-grandmothers in their own right) took legal action against the Catholic Diocese of Sioux Falls and other Catholic entities, seeking restitution for the appalling physical, emotional, and sexual abuse that they had endured decades earlier at St. Paul’s Indian Mission School in Marty, South Dakota—one of many such American Indian residential schools that proliferated in the U.S. and Canada from the early 19th through mid-20th centuries with the explicit goal of assimilating Native American children to white Christian society and culture. Film at Lincoln Center is honored to present the world premiere of director Shannon Kring’s wrenching, vital documentary portrait of the sisters and their decades-long fight for acknowledgement, justice, and healing. Executive produced by Leonardo DiCaprio, the film alternates powerful testimony from the surviving Charbonneaus with urgent, galvanizing sequences documenting the efforts of Dr. Marsha Small, a Northern Cheyenne geophysical surveyor of Indian school cemeteries whose work involves locating the unmarked graves of missing children. The screening will open with a prayer song led by Lakota historian and ceremonialist Darrell Red Cloud, and will be followed by a panel discussion with Kring, producer George DiCaprio, Red Cloud, and film participants Yvonne “Pat” Charbonneau, Gregory A. Yates, and Dr. Marsha Small.

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

Piero Messina. Photo by Arin Sang-urai.

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.

Opens May 29
The Currents
Milagros Mumenthaler, 2025, Switzerland/Argentina, 104m
Spanish with English subtitles

The Currents. Courtesy of Kino Lorber.

While on a work trip in Switzerland, where she’s being fêted for her storied fashion career, designer Lina (Isabel Aimé González Sola) plunges herself, without warning, into an icy winter lake. After surviving the shocking ordeal, Lina returns to her hometown of Buenos Aires, yet a transformation has taken place within her, and she finds it impossible to readjust to her former life as a wife, mother, and artist, distancing herself from her husband (Esteban Bigliardi) and career. Acclaimed Argentinean filmmaker Milagros Mumenthaler (Back to Stay) has constructed a compelling existential puzzle, a work of psychological interiority that, with its oblique narrative and complexly layered soundscape evoking a woman’s enigmatic dissociation, recalls the work of Lucrecia Martel and Todd Haynes, yet with its own singular emotional perspective and aesthetic sophistication. An NYFF63 Main Slate selection. A Kino Lorber release.

Opens June 5
The Little Sister
Hafsia Herzi, 2025, France/Germany, 113m
French and Arabic with English subtitles

The Little Sister. © 2025 June Films/Katuh Studio/Arte France/mk2films.

Devout Muslim teenager Fatima (Nadia Melliti) lives with her loving Algerian immigrant family in Paris, but fears the inevitable fallout if her tradition-minded kin discover her identity as a lesbian. Initially wary of her own sexuality and eager to downplay it, Fatima blossoms when she meets Ji-na (Return to Seoul star Park Ji-Min), but challenges await the nascent couple. In her fourth directorial effort, Hafsia Herzi (also acclaimed for her captivating performances in The Rapture and The Secret of the Grain) rejects the clichés of queer coming-of-age stories, which so often center around tragedy and trauma. Instead, Herzi centers one young girl’s relatively drama-free journey of self-discovery and coming out, one telling incident at a time. A true discovery in her first on-screen role, Melliti won Best Actress awards at Cannes and Lumières, as well as the César Award for Best Female Newcomer, while the film took home the prestigious Louis-Delluc Prize in 2025. A Rendez-Vous with French Cinema 2026 selection. A Strand Releasing release.

Opens June 19
Rose of Nevada
Mark Jenkin, 2025, U.K., 114m

Rose of Nevada. Courtesy of 1-2 Special.

The singular Cornish filmmaker Mark Jenkin (Enys Men) brings his distinctive and bold storytelling approach to his most expansive work yet. Again immersing the viewer in the uncanny environments of the small towns along the coast of Cornwall, Jenkin spins a sci-fi-tinged tale of dislocation and regeneration. In a tiny, sparsely populated fishing village, a boat that had been lost at sea 30 years ago, the Rose of Nevada, suddenly reappears portside, fully intact and without its long-missing crew. Two local neophyte fishermen desperate for work (George MacKay and Callum Turner) take jobs on the boat as it sets out for a good-luck return voyage. When they return, all is no longer what it once was. Shot on 16mm, this earthy, psychological portrait of a working-class community’s cyclical existence is an atmospheric plunge into the eerie. An NYFF63 Main Slate selection. A 1-2 Special release.

Opens June 26
Romería
Carla Simón, 2025, Spain/Germany, 112m
Spanish, Catalan, and French with English subtitles

Romería. Courtesy of Janus Films.

Amidst the jagged cliffs and summery, sun-kissed shores of Vigo, on the Atlantic coast of Galicia in Spain, 18-year-old Marina (the arresting Llúcia Garcia) has arrived on a deeply personal mission. Having lost both of her parents at a very young age, the orphaned young woman has set off on a journey to meet her paternal grandparents and extended family for the first time. While connecting with her affectionate, teeming new clan, Marina also is forced to reconcile with the past, negotiating her idealized memories of her parents and difficult truths that have been long buried. Alternating between 2004 and the early 1980s, evoked in hallucinatory, grainy flashbacks, Romería achingly dramatizes the processes of creating new memories and holding onto fleeting ones. Carla Simón (Alcarràs) proves again with this delicate, naturalistic, and poignantly autobiographical film that she is an essential voice in international cinema. An NYFF63 Main Slate selection. A Janus Films release.

FILM AT LINCOLN CENTER
Film at Lincoln Center (FLC) is a nonprofit organization that celebrates cinema as an essential art form and fosters a vibrant home for film culture to thrive. FLC presents premier film festivals, retrospectives, new releases, and restorations year-round in state-of-the-art theaters at New York’s Lincoln Center for the Performing Arts. FLC offers audiences the opportunity to discover works from established and emerging directors from around the world with a passionate community of film lovers at marquee events including the New York Film Festival and New Directors/New Films. 

Founded in 1969, FLC is committed to preserving the excitement of the theatrical experience for all audiences, advancing high-quality film journalism through the publication of Film Comment, cultivating the next generation of film industry professionals through our FLC Academies, and enriching the lives of all who engage with our programs.

Rolex is the Official Partner and Exclusive Timepiece of Film at Lincoln Center.

Film at Lincoln Center receives generous, year-round support from the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. American Airlines is the Official Airline of Film at Lincoln Center. For more information, visit filmlinc.org and follow us here for updates.

For press inquiries regarding Film at Lincoln Center, please contact:
John Kwiatkowski, Film at Lincoln Center, [email protected]
Eva Tooley, Film at Lincoln Center, [email protected]