Film at Lincoln Center has announced its lineup of festival, repertory, and new release programming for the 2024 summer season, from June through September.

The summer kicks off with FLC’s Summer for the City Outdoor Film Series, presented as part of Lincoln Center’s three-month celebration, which promises to delight and thrill moviegoers with an eclectic selection of five films: Darren Aronofsky’s Black Swan (June 13), with Aronofsky in person; Richard Linklater’s Before Sunrise (June 20), and, on the occasion of its 20th anniversary, Before Sunset (June 21); S.S. Rajamouli’s RRR (July 11), timed to “India Week,” Summer for the City’s celebration of the beauty and vibrancy of Indian culture; and the comedy satire Dick (July 25), starring Kirsten Dunst and Michelle Williams.

New releases include NYFF61 selections Last Summer, Catherine Breillat’s first feature in a decade with the director in person for a June 26 sneak preview before its June 28 opening; Angela Schanelec’s Music, the story of a young man and woman unknowingly united by the same violent death; and the new restoration of Bahram Beyzaie’s The Stranger and the Fog, a visionary Iranian New Wave drama that was banned for decades, opening exclusively at FLC.

Three new releases from notable FLC festivals this year include: Cédric Kahn’s The Goldman Case, a New York Jewish Film Festival selection and acclaimed pick from the 2023 Cannes Film Festival; Robin Campillo’s Red Island, a highlight of the 2024 Rendez-Vous with French Cinema; and India Donaldson’s Good One, a New Directors/New Films selection and a Sundance Film Festival breakout.

FLC series include Spectacle Every Day: Mexican Popular Cinema, a major showcase of key works from the 1940s–1960s featuring imported films seldom screened in the United States, premieres of new restorations, and more; Isso é Brasil: Cinema According to L.C. Barreto, co-presented with Cinema Tropical, a collection of rarely screened selections celebrating the legendary Brazilian production company’s influence, most of which will premiere in new 4K restorations; and an arguably overdue retrospective dedicated to Jacques Rozier, an unheralded legend of French New Wave cinema.

FLC will present, for three days only, a newly struck 70mm blowup of Alfred Hitchcock’s North by Northwest, his stylish, brilliantly self-parodic espionage thriller, which changed every Hollywood action production in its wake.

Not to be missed is a brand-new 4K restoration of the New York theatrical release of Shinji Sōmai’s Moving; Nathan Silver’s Between the Temples, shot in stunning 16mm by Sean Price Williams and featuring indelible performances by Jason Schwartzman and Carol Kane; the return of the New York Asian Film Festival; and the 62nd New York Film Festival.

FLC programming is led by Florence Almozini, Vice President, Programming, and the team includes Manuel Santini, Senior Manager, Programming; Dan Sullivan, Programmer; Regina Riccitelli, Manager, Programming; Madeline Whittle, Assistant Programmer; Tyler Wilson, Programmer; Katie Zwick, Senior Coordinator, Exhibition & Programming; Cecilia Barrionuevo, Programmer-at-Large; and Claire Diao, Programmer-at-Large.

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Film descriptions and additional details are listed below and on New releases and revival runs are organized by Florence Almozini and Tyler Wilson.

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

June 13–July 25
Summer for the City Outdoor Film Series

(L-R): Before Sunrise, Dick, RRR, Before Sunset, and Black Swan

This year’s Summer for the City Outdoor Film Series in Damrosch Park, curated by Film at Lincoln Center as part of Lincoln Center’s three-month-long summer festival, features an eclectic lineup including Darren Aronofsky’s 2010 Oscar-winning drama-thriller Black Swan (June 13), with Aronofsky in-person to celebrate the 30th anniversary of Searchlight Pictures; Before Sunrise (June 20) and, on the occasion of its 20th anniversary, Before Sunset (June 21), the first two installments of Richard Linklater’s beloved European romance trilogy starring Ethan Hawke and Julie Delpy; S.S. Rajamouli’s action-packed epic RRR (July 11), timed to “India Week,” Summer for the City’s celebration of the beauty and vibrancy of Indian culture; and Andrew Fleming’s comedy Dick (July 25), starring Kirsten Dunst and Michelle Williams as two bubbly teen blondes in a deliciously irreverent reimagining of the Watergate scandal. Learn more here.

Opens June 28 with Sneak Preview on June 26 and Catherine Breillat in Person
Last Summer
Catherine Breillat, 2023, France, 104m
French with English subtitles

Last Summer. Courtesy of Sideshow and Janus Films.

One of the world’s most consistently provocative filmmakers for nearly 50 years, Catherine Breillat proves with her incendiary, compelling new drama that she is not through toying with viewers’ comfort levels. A highlight at last year’s Cannes Film Festival, the multi-César Award–nominated Last Summer stars Léa Drucker as Anne, a lawyer who specializes in cases of sexual consent and parental custody. Seemingly happily married to kind-hearted businessman Pierre (Olivier Rabourdin) with adopted twin daughters, Anne inexplicably finds herself drawn to Pierre’s estranged 17-year-old son Théo (Samuel Kircher) after the boy returns home to live with them. Embarking on a passionate affair with the teenager, Anne all too willingly thrusts herself into a maelstrom of attraction, intimidation, and manipulation. Breillat’s incisive latest—written in collaboration with Pascal Bonitzer and featuring original music by Kim Gordon—elegantly surveys the situation’s extreme power dynamics while giving the brilliant Drucker the chance to create a character who exists entirely within her own moral boundaries. An NYFF61 Main Slate selection. A Sideshow/Janus Films release. Tickets on sale now.

Opens June 28 – Exclusive Two-Week New York Run
Angela Schanelec, 2023, Germany/France/Greece/Serbia, 105m
Greek and English with English subtitles

Music. Courtesy of Cinema Guild.

A young man and woman are unknowingly united by the same violent death. Brought together by fate and horrible irony, Jon (Aliocha Schneider) and Iro (Agathe Bonitzer) first meet in prison, where she works and he’s an inmate; they kindle a romance fomented by passion for classical music and opera, followed by marriage and children. Yet as in all tragedies, the past returns to haunt them. Inspired by the Oedipus myth, founding Berlin School member Angela Schanelec (I Was at Home, But…, NYFF57) pushes her skill for finding catharsis via oblique means to new levels of emotionality. Using abstract gestures and broad narrative ellipses, yet still managing to plumb the depths of her characters’ complicated traumas, Schanelec has created with Music an alternately austere and vivid portrait of grief and redemption through art told with her distinctive compositional rigor. An NYFF61 Main Slate selection. A Cinema Guild release.

July 12–22
New York Asian Film Festival

From blockbusters to indie treasures, the New York Asian Film Festival (NYAFF) showcases Asia’s most groundbreaking movies and a whole new generation of auteurs, capturing the zeitgeist of contemporary Asian society. As the clarion call for greater Asian representation grows, NYAFF has provided a vital platform for all kinds of voices for more than two decades. Through its partnership with Film at Lincoln Center, the festival entertains and fosters a deeper appreciation of Asian culture. Learn more here.

July 23-25
North by Northwest on 70mm
Alfred Hitchcock, 1959, U.S., 70mm, 136m

<i>North by Northwest</i>

Sixty-five years ago, Alfred Hitchcock released his stylish, brilliantly self-parodic espionage thriller, which changed every Hollywood action production in its wake. This summer, for three days only, it returns to Film at Lincoln Center on a newly restored 70mm print. A successful, handsome Madison Avenue executive (Cary Grant) is mistaken for a Fed by foreign agents (led by James Mason, villainously debonair) and pushed into a cross-country medley of imposing set pieces. Wryly referred to as the first James Bond film, this VistaVision marvel deploys the director’s familiar-sounding The Wrong Man plot structure but exaggerates every detail—including Bernard Herrmann’s kaleidoscopic score and Saul Bass’s kinetic opening title sequence—on a dizzying scale, taking us everywhere from the posh and modernist interiors of New York City and Chicago to a vast, flat, Midwestern cornfield to, finally, the gigantic faces of Mount Rushmore above Rapid City. 

North by Northwest (1959) was filmed in VistaVision and released in 1.85. Motion Picture Imaging scanned the original 8 per 35mm VistaVision camera negative in 13k with all restoration work completed in 6.5k. The 70mm film print was created by filming out a new 65mm negative. The Film Foundation has given approval of the restoration.

July 26–August 8
Spectacle Every Day: Mexican Popular Cinema

The Unknown Policeman

In partnership with the Locarno Film Festival, Film at Lincoln Center presents an unprecedented survey of film production in Mexico from the 1940s through the 1960s: three decades of exceptional creativity that ushered in a monumentally prolific era of major filmmakers (among them, Roberto Gavaldón, Emilio Fernández, Julio Bracho, Alejandro Galindo, and Chano Urueta) and screen titans (María Félix, Pedro Armendáriz, Cantinflas, Tin Tan, El Santo, Pedro Infante, Katy Jurado, César Romero, and more). This series goes well below the surface of the era’s most well-known works to show its vast wealth of innovative filmmaking, and spotlights the rich, at times unsung, but always fascinating period and the exceptionally diverse body of films that enthralled a generation of moviegoers. From pitch-black noir, delightful comedy, and lurid melodrama—sometimes all in one film—to a 3-D swashbuckler, luchador-vampire horror, and a superhero film, these exquisite tales radically reimagine the visual aesthetics of classical Hollywood through sweeping productions that take us to grandiose wrestling rings, frenetic cabarets and nightclubs, exquisite haciendas, restless cities, and everywhere in between. Featuring new restorations of works rarely screened or never-before-seen theatrically in the United States.

Organized by Tyler Wilson and Cecilia Barrionuevo in partnership with the Locarno Film Festival. This program was selected from the retrospective curated by Olaf Möller and Roberto Turigliatto at the 2023 Locarno Film Festival. Special thanks to Cinema Tropical.

Opens August 2 – Exclusive Run
Shinji Sōmai, 1993, Japan, 125m
Japanese with English subtitles

Moving. Courtesy of Cinema Guild.

A noted influence on Ryûsuke Hamaguchi, Hirokazu Kore-eda, and Kiyoshi Kurosawa, among many others, Shinji Sōmai was a consummate filmmaker’s filmmaker, and Moving is one of his most remarkable achievements. It follows the gradual, frequently messy untangling of love between a divorced couple in Kyoto as experienced by their 11-year-old daughter Renko (Tomoko Tabata, giving easily one of the greatest child performances in film), but evolves into something altogether stranger and more elemental by its conclusion. What’s so exceptional about Moving is its frank understanding of adolescent feeling and the emotional fluctuations borne out by loss and growing up, rendered in an exquisite color palette and via dexterous long takes. It’s a film that is as genuinely heartbreaking as it is funny and touching. This August, Film at Lincoln Center is thrilled to present the long overdue New York theatrical release of Moving in its brand-new 4K restoration, which won the Best Restored Film Award at the 2023 Venice Classics. A selection of the Un Certain Regard section at the 1993 Cannes Film Festival. A Cinema Guild release. 

The 4K restoration was completed in 2023 by Yomiuri Telecasting Corporation under the supervision of the film’s cinematographer, Toyomichi Kurita.

Opens August 9
Good One
India Donaldson, 2024, U.S., 90m

Good One. Courtesy of Metrograph Pictures.

A seemingly small incident has monumental implications in the extraordinary feature debut of India Donaldson, a film of expertly harnessed naturalism and restrained emotional intensity. Seventeen-year-old high school senior Sam (a revelatory Lily Collias) has agreed to join her father Chris (James Le Gros) and his longtime buddy Matt (Danny McCarthy) on a camping trip in the Catskills, though she’d rather be hanging with her friends for the weekend. Affable and wise, Sam at first seems to enjoy the intergenerational bonding experience with the two divorced dads, yet the men’s own festering, middle-aged resentments begin to change the emotional tenor of the trip—until something happens that alters Sam’s perception of the men and her place in their orbit. Amidst the lush beauty and contemplative forest atmosphere in upstate New York, Good One asks provocative questions about the dynamics of family, friendship, and what it means to engage in or avoid conflict. A 2024 New Directors/New Films selection. A Metrograph Pictures release. 

August 16-22
Jacques Rozier

Adieu Philippine.

It is well-established that the French New Wave forever changed our understanding of what a film could be, playing with both the medium’s formal conventions and Hollywood’s immortal iconography to produce some of cinema’s most stylish and enduringly influential works. Yet, for as large as such figures as Jean-Luc Godard, François Truffaut, and Éric Rohmer loom within standard accounts of this incomparably fertile period of film history, less well-known are the works of their contemporary Jacques Rozier, whose 1962 debut feature, Adieu Philippine, was a particular cause for the critic-iconoclasts of Cahiers du Cinéma. Across five idiosyncratic, episodic features, and an assortment of fiction and documentary short films, Rozier distinguished himself from his peers through his fixation on the idea of vacations as theatrical staging grounds upon which his magnetic actors could play and simply be, making him something like a more lighthearted (though no less complex) counterpart to his fellow New Waver, Jacques Rivette. It is remarkable that Rozier’s influence has been so profoundly felt considering how rarely his singular films have screened outside of France. On the occasion of an assortment of new restorations of his signature films (including Du côté d’Orouët [1973] and Maine-Océan [1986]), Film at Lincoln Center presents a long overdue (and appropriately summer-set) retrospective dedicated to this unheralded legend of French cinema.

Organized by Florence Almozini and Dan Sullivan. Presented in collaboration with Janus Films.

Opens August 16 – Exclusive Run
Red Island
Robin Campillo, 2023, France/Belgium/Madagascar, 116m
French and Malagasy with English subtitles

<i>Red Island / L’île rouge</i>. Courtesy of Film Movement.

Red Island / L’île rouge. Courtesy of Film Movement.

NYFF and Rendez-Vous with French Cinema veteran Robin Campillo, whose 2017 period drama BPM: Beats Per Minute reconstructed and celebrated ACT UP’s legacy of AIDS activism in France during the 1990s, once again draws on personal history with his latest film, reaching back further to evoke a sumptuously visualized 1970s childhood spent with his military family on Madagascar. Growing up on one of the last remaining French colonial bases on the island, young Thomas (Charlie Vauselle) keeps a curious and observant eye on the adults around him, not least his parents (Nadia Tereszkiewicz and Quim Gutiérrez). Bonding with young Suzanne (Cathy Pham) over the Fantômette comic books, Thomas’s imagination and observational powers grow even as the world around him is about to die. Making striking use of a child’s perspective, Campillo’s carefully observed drama of a lost world is lyrical and clear-eyed in equal measure. A 2024 Rendez-Vous with French Cinema selection. A Film Movement release.

Opens August 23
Between the Temples
Nathan Silver, 2024, U.S., 111m

Between the Temples. Courtesy of Sony Pictures Classics.

Directed by New York filmmaker Nathan Silver, who co-wrote the screenplay with C. Mason Wells, Between the Temples follows Jason Schwartzman as a bereaved cantor at an upstate New York synagogue, who has lost his wife, can’t sing anymore, lives with his two mothers, and has a newfound taste for mudslide cocktails. While he keeps kosher and remains devout, his ennui-addled regression seems all but terminal until his 70-year-old grade school music teacher (Carol Kane) walks back into his life and becomes his new adult Bat Mitzvah student… and maybe something more. Something like Harold and Maude by way of Mike Leigh, Silver’s ninth feature is perhaps his most accomplished film yet—a portrait of love in a time of loss that is equal parts touching, cringingly hilarious, and effortlessly strange, shot in stunning 16mm by Sean Price Williams and featuring indelible performances by Schwartzman and Kane. A Sony Pictures Classics release.

August 29-September 1
Film Comment Live: The Rebel’s Cinema—Frantz Fanon on Screen

When writer, radical, and psychiatrist Frantz Fanon published Black Skin, White Masks in 1952, he inaugurated a thrilling new era of revolutionary and anti-colonial thought. Since his untimely death in 1961, Fanon’s life and work—which included practicing as a psychiatrist in Algeria; serving as a spokesman for the National Liberation Front in its struggle against French imperial rule; and publishing The Wretched of the Earth, another classic of anti-colonial literature—have invigorated generations of thinkers, writers, artists, and revolutionaries. His influence on cinema is particularly vast: filmmakers from Ousmane Sembène to Sarah Maldoror, Claude Lanzmann to Claire Denis, have drawn upon his ideas in their work. Marking the publication of Adam Shatz’s book The Rebel’s Clinic: The Revolutionary Lives of Frantz Fanon, Film Comment presents a four-day series of screenings and talks exploring Fanon’s echoes in cinema, and the renewed relevance of his legacy in today’s world. Running August 29 to September 1, the series will take place at Film at Lincoln Center, Maysles Documentary Center, Brooklyn Academy of Music, and Anthology Film Archives, in a unique collaboration between the institutions. 

Opens August 30 – Exclusive Run
The Stranger and the Fog
Bahram Beyzaie, 1974, Iran, 140m
Farsi with English subtitles

The Stranger and the Fog. Courtesy of The Film Foundation’s World Cinema Project.

One of the most mysterious and magisterial films of the Iranian New Wave, Bahram Beyzaie’s visionary 1974 drama was banned for decades following the Iranian Revolution. A relentlessly oneiric parable, The Stranger and the Fog begins with the titular stranger, named Ayat, arriving at a coastal village on the Persian Gulf aboard a drifting boat, unconscious and with no memory of how he arrived there. The villagers revive him and, some time later, he falls in love with a local widow, causing tensions with her deceased husband’s family. After years of peace, still more strangers descend upon the village from the sea in search of Ayat. This visually ravishing masterwork invents its own mythology to critique the sociopolitical conditions of 1970s Iran. An NYFF61 Revivals selection. A Janus Films release. 

Restored by The Film Foundation’s World Cinema Project and Cineteca di Bologna in collaboration with Bahram Beyzaie. Funding provided by the Hobson/Lucas Family Foundation. 

Opens September 6
The Goldman Case
Cédric Kahn, 2023, France, 115m
French with English subtitles

The Goldman Case. Courtesy of Moonshaker.

One of the most acclaimed films from the 2023 Cannes Film Festival, this gripping courtroom drama from widely admired French filmmaker Cédric Kahn (Red Lights) delves into the sensationalized 1976 trial of Pierre Goldman, a left-wing activist defending himself against multiple charges, including murder during an armed robbery. Arieh Worthalter won the César for Best Actor as the accused, a revolutionary and the son of Polish Jewish refugees who steadfastly maintained his innocence—his legal team includes Arthur Harari, who co-wrote Anatomy of A Fall—while the facts of his case became a flash point for a generation, raising questions of antisemitism and political ideology. Directed with vérité realism and pinpoint historical precision, The Goldman Case is a focused, distilled dramatization that’s both subdued and electrifying, communicating so much about the complexity of Jewish identity in recent European history. A 2024 New York Jewish Film Festival selection. A Menemsha Films release.

September 6-15
Isso é Brasil: Cinema According to L.C. Barreto

Dona Flor and Her Two Husbands

When it comes to Brazilian cinema, “there is before the Barretos and after,” said the actress Sonia Braga, whose breakthrough came in the international hit Dona Flor and Her Two Husbands (1976), directed by Bruno Barreto and produced by his parents’ L.C. Barreto Film Productions. Since its founding in 1963 by Luiz Carlos and Lucy Barreto (who are still active in the company), the Rio de Janeiro–based enterprise—which has, in various capacities, involved their children Bruno, Fábio, and Paula—transformed into one of Brazil’s most important film production companies that has championed radically political and experimental works, festival prizewinners, and unabashed crowd-pleasers alike. Whether producing, directing, writing, or actually shooting movies, the Barretos have captivated audiences for over half a century with more than 150 films in their catalog, and helped Brazilian cinema achieve critical acclaim and popular recognition on an unprecedented scale. Among L.C. Barreto’s wide-ranging credits are landmarks of the Cinema Novo movement (Barren Lives, Entranced Earth, and Bye Bye Brazil), box office sensations (Dona Flor, the country’s highest-grossing film for more than 30 years), Oscar-nominated fare (O Quatrilho and Four Days in September), and more. This September, Film at Lincoln Center and Cinema Tropical are honored to celebrate 60 years of the Barretos’s incomparable influence with a selection of audience favorites and under-seen gems, most of which will premiere in new 4K restorations.

Organized by Tyler Wilson of Film at Lincoln Center and Mary Jane Marcasiano of Cinema Tropical, presented in collaboration with the Consulate General of Brazil in New York.

September 27-October 13
62nd New York Film Festival

Presented by Film at Lincoln Center, the New York Film Festival is an annual showcase of the best in world cinema. Since 1963, NYFF has shaped film culture and continues an enduring tradition of introducing audiences to bold and remarkable works from celebrated filmmakers as well as fresh new talent. The 62nd edition takes place September 27–October 13, 2024, and festival passes are on sale now.