Film at Lincoln Center Announces Summer 2025 Programming Lineup

June 12, 2025

Film at Lincoln Center Announces Summer 2025 Programming Lineup

Christiane F., The Fall of Otrar, The Royal Tenenbaums, Yi Yi, and The Village

Film at Lincoln Center announces its lineup of festival, repertory, and new release programming for the 2025 summer season, from June through September.

FLC’s new releases this summer include Kiyoshi Kurosawa’s Cloud, a genre-bending fusion of social satire, techno-thriller, and survival-action, with Kurosawa in person for Q&As following select screenings; as well as several 62nd New York Film Festival selections, including a 4K restoration of Ardak Amirkulov’s 1991 historical epic The Fall of Otrar; Hong Sangsoo’s By the Stream, his latest portrait of people discovering emotional kinship; and Yeo Siew Hua’s riveting surveillance thriller Stranger Eyes. Selections from the 2025 Rendez-Vous with French Cinema include Boris Lojkine’s Souleymane’s Story, winner of the Jury Prize and Best Actor in Un Certain Regard at Cannes; and Suspended Time, a disarmingly personal work of autofiction from the great Olivier Assayas. FLC will also present actor-turned-filmmaker Embeth Davidtz‘s directorial and screenwriting debut Don’t Let’s Go to the Dogs Tonight, with a sneak preview screening and Q&A with Davidtz on June 24; and Andres Veiel’s Riefenstahl, a gripping documentary of one of cinema’s most controversial figures.

Additional revival and repertory releases coming to FLC include brand-new 4K restorations of Edward Yang’s Yi Yi (2000), his final completed feature and arguably his most beloved; Christiane F. (1981), Uli Edel’s searing portrayal of drug addiction in 1970s West Berlin; and Shinji Sōmai’s The Friends (1994), a delicate gem from one of Japanese cinema’s most revered stylists. Wong Kar-Wai’s 4K restoration of In the Mood for Love (2000) will screen with his short film In the Mood for Love 2001, a nine-minute coda that, until now, only screened during Wong’s 2001 Cannes master class. 

Three FLC repertory series will celebrate important figures in cinema history: Gene Hackman: A Week with the Gene Genie, a week-long tribute to some of Hackman’s most treasured performances; Luc Moullet, an overdue homage to the last surviving pillar of the French New Wave, including an assortment of his rarely screened features (several of which will be screened from new digital restorations) and Moullet himself in person; and Night at the Movies: An M. Night Shyamalan Retrospective, presented through a series of double bills that place each of Shyamalan’s features alongside a film of his own choosing, with the filmmaker in person at FLC.

In another essential series for horror fans, FLC is pleased to welcome back New York City’s premier showcase for the best in new genre (and genre-bending) cinema from around the globe, Scary Movies XIII. Returning for its 13th edition after a five-year hiatus, Scary Movies is proud to offer moviegoers the cathartic treat of experiencing world-class suspense, gore, and terror of all stripes on the big screen, while celebrating cinema’s boundless capacity to probe the creepiest corners of the human psyche in the company of dedicated fellow thrill-seekers. 

FLC also welcomes the return of the New York Asian Film Festival in its 24th year, as well as the 63rd edition of the New York Film Festival, presented in partnership with Rolex.

As previously announced, FLC’s upcoming programming also includes such new releases as Albert Serra’s NYFF62 selection Afternoons of Solitude, with Serra in person at FLC; and Rithy Panh’s 2025 Rendez-Vous with French Cinema selection Meeting with Pol Pot, with journalist Elizabeth Becker in attendance for Q&As. Paul Thomas Anderson’s Inherent Vice on 70mm will screen for one week only, ahead of the director’s highly anticipated new feature One Battle After Another. FLC will also present The Other America: A Cosmology of Jordan Peele’s Us, an interpretation of the many references in Peele’s rich sophomore feature, as outlined in the newly published Us: The Complete Annotated Screenplay, through a presentation of double features, readings, in-person appearances from some of the book’s contributing writers, and never-before-seen theatrical presentations of Us. 

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. Partner festivals are organized by Florence Almozini, Dan Sullivan, Madeline Whittle, Tyler Wilson, Katie Zwick, Manuel Santini, and Regina Riccitelli.

 

SUMMER 2025 PROGRAMMING

 

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 June 13
Meeting with Pol Pot / Rendez-vous avec Pol Pot
Rithy Panh, 2024, France/Cambodia/Taiwan/Qatar/Turkey, 112m
French and Cambodian with English subtitles

Meeting with Pol Pot. Courtesy of Strand Releasing.

In 1978, three French journalists arrived in Cambodia to survey the country and interview its leader, Pol Pot—but after a picture-perfect arrival, cracks began to emerge in the murderous regime’s facade of respectability. For Cambodian-born Rithy Panh, the damage inflicted upon his homeland by the Khmer Rouge has fueled a lifetime of innovative work in the vein of 2013’s The Missing Picture, which reconstructed the period’s events in part through clay-figurine dioramas. This real-life journalistic excursion, based on true events detailed in Elizabeth Becker’s nonfiction book When the War Was Over: Cambodia and the Khmer Rouge Revolution, is brought to life thanks to exemplary lead performances from Irène Jacob, Grégoire Colin, and Cyril Gueï, meticulously conjuring the sights and sounds of 1978 Cambodia with the assistance of archival footage and more clay figurines. The result is a unique admixture—historical horror paired with a rich meditation on the impossibility of portraying it—that only Panh could make. A Strand Releasing release. Tickets on sale now!

June 20-26
The Other America: A Cosmology of Jordan Peele’s Us


Hailed as “a colossal achievement” and “blissfully ambitious” upon its 2019 release, Peele’s sophomore feature Us plumbed everything from American isolationist fears and labyrinthine power structures to the rich lineage of the doppelgänger motif and home-invasion thrillers. It also left just as many audiences enthralled and mystified as it prompted those to obsessively pore over its coincidences, paradoxes, and symbology in the years that followed. Now with the recent publication Us: The Complete Annotated Screenplay by Inventory Press, in-depth footnotes, commentaries, marginalia, and a constellation of images, definitions, and inspirations have untethered entirely new references orbiting the film—everything and everyone from W. E. B. Du Bois, C.H.U.D., Sylvia Plath, and Oscar Micheaux, to Donnie Darko, Lewis Carroll, The Beach Boys, and more. This June, Film at Lincoln Center will interpret the cosmology outlined in this book through a presentation of double features, supplementary reading material, in-person appearances from some of the book’s contributing writers, and never-before-seen 35mm presentations of Us. Tickets on sale now!

Organized by Florence Almozini and Tyler Wilson in collaboration with Monkeypaw Productions and Inventory Press. 

Opens June 20
New 4K Restoration
Christiane F.
Uli Edel, 1981, West Germany, 131m

Christiane F. Courtesy of Janus Films.

Adapted from Christiane Felscherinow’s best-selling memoir, Christiane F. remains one of the most searing portrayals of drug addiction ever committed to film, set against the cold, dislocated cityscape of 1970s West Berlin. Christiane (Natja Brunckhorst, in a devastating debut performance) starts out as a bored 13-year-old obsessed with David Bowie and experimenting with pills and alcohol at a nightclub. Within a year, she’s shooting heroin and resorting to sex work as her world contracts to graffitied train station bathrooms and squalid concrete flats. Uli Edel’s vérité-style approach—handheld camerawork, location shooting, and a cast of nonprofessional actors and actual denizens of Bahnhof Zoo—captures a generation slipping through the cracks with unnerving realism, while Bowie’s moody, glamorous Berlin-era soundtrack (and on-screen performance) infuses the film with an achingly cool glamor that forever hovers just out of reach. Long unavailable, Christiane F. returns to Film at Lincoln Center in a stunning new 4K restoration. A Janus Films release. Tickets on sale now!

Opens June 27
Afternoons of Solitude
Albert Serra, 2024, Spain, 126m
Spanish with English subtitles

Afternoons of Solitude. ©Andergraun Films. Courtesy of Grasshopper. .

Catalan filmmaker Albert Serra (Pacifiction, NYFF60) trains a patient and poetic lens on the dazzling pomp and devastating brutality of bullfighting in his new documentary portrait of the charismatic Peruvian-born star torero Andrés Roca Rey. Intensely in-the-moment, Afternoons of Solitude expertly balances the visceral thrill of the battle inside the ring, pitting animal instinct against human technique, with a meditative filmmaking style that allows the viewer to appreciate the emotional and physical toll the violence takes on both man and beast. Unflinching yet reflective, Serra’s film is a monumental depiction of the persistence of the primitive in the present day, while acknowledging the extraordinary skill of the man who puts his life and spiritual endurance at risk as he faces down rampaging nature. A Grasshopper Film release. An NYFF62 Spotlight selection. Tickets on sale now!

Opens June 27
25th Anniversary Edition
In the Mood for Love with In the Mood for Love 2001
Wong Kar Wai, 2000/2001, Hong Kong, 107m
Cantonese, Shanghainese, French, and Spanish with English subtitles

In the Mood for Love

Hong Kong, 1962: Chow Mo-Wan (Tony Leung Chiu–wai) and Su Li-Zhen (Maggie Cheung Man–yuk) move into neighboring apartments on the same day. Their encounters are formal and polite—until a discovery about their spouses creates an unexpected bond. At once delicately mannered and visually extravagant, In the Mood for Love is a masterful evocation of romantic yearning and its fleeting moments. With its aching soundtrack and exquisitely abstract cinematography by Christopher Doyle and Mark Lee Ping-bing, the film has become a major stylistic touchstone of contemporary cinema and a milestone in Wong’s redoubtable career.

Returning to Film at Lincoln Center in its luminous 4K restoration, the feature is now followed by In the Mood for Love 2001, a nine-minute coda—the “dessert” after the main course, as Wong put it—that, until now, only screened during his 2001 Cannes master class. It imagines Leung and Cheung, now as different characters, reuniting in a modern-day Hong Kong convenience store: brisk, comic, and unconstrained, yet no less beguiling. This June, join us at FLC to envision another possible outcome for this iconic duo, while still savoring the original’s lingering sense of restraint and regret. A Janus Films release. Tickets on sale now!

July 4-10 (one week only!)
Inherent Vice on 70mm
Paul Thomas Anderson, 2014, U.S., 70mm, 148m

Paul Thomas Anderson’s wild and entrancing Thomas Pynchon adaptation is a cinematic time machine, placing the viewer deep within the world of the paranoid, hazy L.A. dope culture of the early ’70s. It’s not just the look (which is ineffably right, from the mutton chops and the peasant dresses to the battered screen doors and the neon glow), it’s the feel, the rhythm of hanging out, of talking yourself into a state of shivering ecstasy or fear or something in between. Joaquin Phoenix goes all in as Doc Sportello, the private investigator searching for his ex-girlfriend Shasta (Katherine Waterston), menaced at every turn by the telegenic police detective “Bigfoot” Bjornsen (Josh Brolin). Among the other members of Anderson’s mind-boggling cast are Reese Witherspoon, Benicio Del Toro, Martin Short, Owen Wilson, and Jena Malone. For one week only, join Film at Lincoln Center to revisit this great American film on 70mm. An NYFF52 Main Slate selection. Tickets on sale now!

Opens July 11 (sneak preview on June 24!)
Don’t Let’s Go to the Dogs Tonight
Embeth Davidtz, 2024, South Africa, 98m

Don’t Let’s Go to the Dogs Tonight

Actor-turned-filmmaker Embeth Davidtz (Schindler’s List) makes her directorial and screenwriting debut with this vivid adaptation of Alexandra Fuller’s memoir, set in the waning days of the Zimbabwean War for Independence in 1980 Rhodesia. Seen through the eyes of Bobo (an astonishing Lexi Venter), the film captures a childhood steeped in grief, denial, and inherited prejudice, as civil war looms just beyond the edges of her family’s tenant farm. Davidtz—who also delivers an unsparing turn as Bobo’s volatile mother—unpacks a crumbling way of life through lyrical, vignette-like storytelling and rich period detail. A moving personal story and a trenchant historical parable, Don’t Let’s Go to the Dogs Tonight illuminates how the end of an era is felt not in slogans, but in the intimate textures of everyday life. A Sony Pictures Classics release. Tickets on sale now!

July 11-27
New York Asian Film Festival


The 24th edition of the New York Asian Film Festival (NYAFF) marks its largest and most globally expansive lineup to date, with more than 50 bold, genre-defying films at FLC from July 11 through July 24, and more than 100 films from across Asia screening through July 27 at multiple venues. This year’s theme is “Cinema as Disruption”—spotlighting films that challenge, provoke, and reimagine. From blockbusters to indie treasures, NYAFF offers a rare opportunity to discover emerging talent and groundbreaking voices from across the region. Learn more here.

Opens July 18
Cloud
Kiyoshi Kurosawa, 2024, Japan, 124m
Japanese with English subtitles

Cloud

Kiyoshi Kurosawa (Cure, Pulse) delivers one of his most chillingly prescient films with this riveting fusion of social satire, techno-thriller, and survival-action. Yoshii (Masaki Suda), a T-shirt factory worker, supplements his income by flipping merchandise online—dubious medical devices, counterfeit designer handbags, collectible figurines—until disgruntled customers begin organizing against him on an anonymous message board. As his profits grow and he quits his day job (even hiring an assistant), he becomes the target of a coordinated vendetta that ratchets into something increasingly brutal, absurd, yet eerily plausible. At once a pulse-pounding provocation and a cautionary tale for our atomized, hustle-economy era, Cloud—Japan’s official submission for the 97th Oscars—is a genre-bending vision of virtual grievances mutating into real-world terror, orchestrated with Kurosawa’s signature precision and nerve. A Sideshow/Janus Films release.

July 25-31
Gene Hackman: A Week with the Gene Genie

Hoosiers

Rugged, unsentimental, and always alive to contradiction—his presence commanding, his emotional range unmistakable—Gene Hackman redefined the contours of American screen acting. Across five decades, a span that included two Academy Awards, the Marine-turned-thespian carved out a singular, uncompromising style that galvanized characters at once formidable and fallible: cops, coaches, convicts, and con men. He emerged as a vital force in the New Hollywood era with landmark performances in Bonnie and Clyde, The French Connection, and The Conversation, becoming a key architect of a more psychologically complex masculinity: explosive yet wounded, magnetic yet unpredictable. As he continued navigating the industry on his own terms, he proved just as agile in offbeat character studies (Scarecrow, Night Moves) and studio blockbusters (The Poseidon Adventure, The Firm) as he was in revisionist westerns (Unforgiven) and late-career triumphs (The Royal Tenenbaums, Heist), lending gravitas, wit, and authenticity to every role—and often grounding even the most stylized films in something raw and real. This July, Film at Lincoln Center is pleased to present a week-long tribute to some of Hackman’s most treasured performances, tracing the evolution of an actor who never struck a false note—and who, in his own words, summed up his ethos simply: “I never had the aspirations to be a star. I wanted to be an actor.”

Organized by Florence Almozini and Tyler Wilson.

Opens August 1
New 4K Restoration
The Fall of Otrar
Ardak Amirkulov, 1991, Kazakhstan/USSR, 156m
Kazakh, Mandarin Chinese, and Mongolian with English subtitles

The Fall of Otrar. Courtesy of Janus Films.

Ardak Amirkulov’s staggering historical epic (co-written by Aleksei German) concerns the intrigues and turmoil preceding Genghis Khan’s systematic destruction of the lost East Asian civilization of Otrar. The movie that spurred the extraordinary wave of great Kazakh films in the 1990s, The Fall of Otrar is hallucinatory, visually resplendent, and ferociously energetic, packed with eye-catching (and gouging) detail and traversing an endless variety of parched, epic landscapes and ornate palaces. But this is also one of the most astute historical films ever made, its high quotient of gore grounded in the bedrock realities of realpolitik: when the Kharkhan of Otrar is finally brought before the Ruler of the World, he could be facing Stalin or, for that matter, any number of latter-day CEOs. A movie that has everything, from state-of-the-art 13th-century warfare to perfumed sex, The Fall of Otrar is truly a one-of-a-kind experience. A NYFF62 Revivals selection. A Janus Films release.

Restored by The Film Foundation’s World Cinema Project and Cineteca di Bologna at L’Immagine Ritrovata laboratory, in collaboration with Ardak Amirkulov. Funding provided by the Hobson/Lucas Family Foundation. The Fall of Otrar (1991) was restored in 4K from the original camera and sound negatives. Scanning was performed by ARDFILM in Almaty (Republic of Kazakhstan). Ardak Amirkulov supervised the scanning and approved the final grading. Special thanks to Daniel Bird. Restoration work was completed in 2024 by L’Immagine Ritrovata.

Opens August 1
Souleymane’s Story
Boris Lojkine, 2024, France, 94m
French, Fulah, and Malinka with English subtitles

Souleymane’s Story

In the opening scenes of Boris Lojkine’s urgent third feature, a Guinean immigrant bicycles frantically from one food delivery pickup to another, the camera racing along just behind him, revealing a singular new view of Paris from the perspective of some of its most underappreciated workers. Over the two days that follow, Souleymane (played by non-professional actor Abou Sangaré in a riveting first performance) struggles to stay afloat while preparing for a crucial immigration asylum interview. Stylistically inspired in part by Cristian Mungiu’s 2007 Cannes winner 4 Months, 3 Weeks and 2 Days, Lojkine’s bracing, artful realism offers an equally affecting account of a migrant laborer’s experience finding himself caught up in the mechanisms of an uncaring and unforgiving society. Shooting on city streets with concealed cameras, Lojkine creates a simultaneously pulse-pounding and heartrending view of contemporary Parisian life. A 2025 Rendez-Vous with French Cinema selection. A Kino Lorber release.

Opens August 8
By the Stream
Hong Sangsoo, 2024, South Korea, 111m
Korean with English subtitles

By the Stream

Successful former director Chu Sieon (Kwon Haehyo), now working quietly as a bookshop owner, has arrived at a university to direct a short theater piece after its student director has been let go from the project. He appears at the invitation of his niece, Jeonim (Kim Minhee), an artist and teacher whom he hasn’t seen in 10 years. Living with regrets about decisions made at this very university decades earlier, Chu Sieon both rebuilds his family bond and forges a new one with the admiring Professor Jeong (Cho Yunhee). Hong Sangsoo’s latest portrait of people discovering emotional kinship and recharging their creative selves is wondrous in its simplicity yet expansive in feeling. By the Stream is a deeply affectionate rendering of the constant process of self-actualization, whether in youth or late middle-age, and features one of Hong’s most poignant scenes to date, in which Chu Sieon and the student actors share their hopes and promises for the future. An NYFF62 Main Slate selection. A Cinema Guild release.

August 8-14
Luc Moullet

Anatomy of a Relationship

A crucial yet somewhat unsung figure in the history of French cinema (and film criticism), Luc Moullet got his start as a writer for Cahiers du cinéma in the late 1950s alongside his generational peers Jean-Luc Godard, François Truffaut, Éric Rohmer, Jacques Rivette, and Claude Chabrol, and, like them, he eventually took up the camera in order to do criticism by other means. He shot his first feature, Brigitte et Brigitte, in 1966, and across the subsequent six decades he would amass a charming and idiosyncratic body of work that was distinguished from the rest of his nouvelle vague cohort by, among other things, his particular interest in westerns and comedies. But as with the other New Wavers, Moullet’s approach is anything but straightforward, boldly reimagining and re-engineering genre tropes while relentlessly, zanily satirizing the structures of modern life in a style that’s wholly, unmistakably his. Join Film at Lincoln Center this August for an overdue tribute to the last living pillar of the French New Wave, featuring an assortment of his rarely screened features (several of which will be screened from new digital restorations), a selection of his wonderful and eclectic short films, and a visit from the master himself, who will be in-person to discuss his singular life and career.

Organized by Dan Sullivan. Special thanks to Cinema Guild.

Opens August 15
Suspended Time
Olivier Assayas, 2024, France, 105m
French with English subtitles

Suspended Time. Photo Credit: © Carole Bethuel.

“Never have I felt like less of a filmmaker,” frets Paul Berger (Vincent Macaigne). It’s April of 2020, and the film director has escaped to the provinces, living in lockdown with his brother Etienne (Micha Lescot), a middle-aged music journalist, and their respective romantic partners. The couples try to maintain their sanity in the midst of extended isolation in this tonally masterful dramedy from the great Olivier Assayas (Irma Vep, Personal Shopper). In an autobiographical vein, Assayas presents a disarmingly personal (and often very funny) perspective on the pandemic, taking place at the director’s very own family house. Amassing a wealth of insights into the foundational relationships and rural background that shaped him, Assayas is equally adept at thoughtfully reconstructing an unprecedented moment in our shared history with the grace and compassion that only a master filmmaker can bring. A 2025 Rendez-Vous with French Cinema selection. A Music Box Films release.

August 15-21
Scary Movies XIII

Midsommar Directors Cut world premiere at Scary Movies XII. Photo by Dan Rodriguez.

It’s alive! Since its founding in 2002, Scary Movies has been proud to offer moviegoers the cathartic treat of experiencing world-class suspense, gore, and terror of all stripes on the big screen, while celebrating cinema’s boundless capacity to probe the creepiest corners of the human psyche in the company of dedicated fellow thrill-seekers. This August, Film at Lincoln Center is excited to present the re-animated Scary Movies, roaring back to life after a five-year hiatus for its 13th edition. Stay tuned for more details about the return of New York City’s premier showcase for the best in new genre (and genre-bending) cinema from around the globe, screening alongside special presentations of spine-tingling classics and rediscoveries conjured from the dark recesses of midnight-movie lore.

Organized by Madeline Whittle. “Scary Movies XIII” is sponsored by MUBI, the global streaming service, production company, and film distributor dedicated to elevating great cinema.

Opens August 22
New 4K Restoration
The Friends
Shinji Sōmai, 1994, Japan, 113m
Japanese with English subtitles

A delicate gem from one of Japanese cinema’s most revered stylists, The Friends finds the late Shinji Sōmai (Typhoon Club, Moving) at his most tender and unadorned. This lyrical coming-of-age tale, newly restored in 4K, follows three curious boys over one summer as they spy on a reclusive old man rumored to be dying—only to form an unexpected friendship that gently guides them toward compassion, loss, and the quiet end of childhood. Sōmai’s signature long takes and sunwashed compositions capture the rhythms of youth with patient, poetic clarity, and feel especially resonant as the summer season draws to a close. A revelatory rediscovery and a natural companion to Moving—whose revival at FLC last year introduced a new generation to Sōmai’s singular vision—The Friends reaffirms his influence on contemporary directors like Hirokazu Kore-eda, who called him “a filmmaker who captured adolescence like no other.” A Cinema Guild release.

August 22-September 4
Night at the Movies: An M. Night Shyamalan Retrospective


Visionary, provocative, and forever one step ahead of expectations, M. Night Shyamalan has spent more than 25 years reinventing what a genre film can be. His breakthrough, The Sixth Sense, turned him into a household name and the twist ending into his signature—but that reputation often eclipsed the bolder strategies of his storytelling. With the precision of a classicist and the instincts of a born mythmaker, Shyamalan has shaped blockbusters into parables, mysteries into moral puzzles, and thrillers into explorations of fear, faith, and systems that tether us to belief and paranoia. His films move fluidly across ghost stories, fairy tales, superhero myths, and apocalyptic fables, yet remain bound by a singular moral imagination. And whether working within studio-backed productions or financing his own, he has sustained a precise and evolving vision to remain unmistakably himself: an artist, at times misread by his own moment, who reshapes pop forms into something stranger, more elusive, and ultimately more personal. This August, Film at Lincoln Center is thrilled to welcome Shyamalan in person for a retrospective of his work, presented through a series of double bills that place each of his features alongside a film of his own choosing—pairings that trace formal and thematic parallels, and the cinematic traditions his films revere, echo, and reimagine.

Organized by Tyler Wilson in collaboration with M. Night Shyamalan.

Opens August 29
Stranger Eyes
Yeo Siew Hua, 2024, Singapore, 126m
Chinese with English subtitles

Stranger Eyes.

Young married Singaporean couple Junyang (Chien-Ho Wu) and Peiying (Anicca Panna) must confront the unimaginable when one morning their baby daughter goes missing from the playground. As the police begin their investigation, Junyang and Peiying receive an unsettling package at their doorstep: surreptitious video footage of their daily lives, taken before and after the child’s disappearance. Soon, their voyeur neighbor Wu (Lee Kang-sheng, the Taiwanese star of Tsai Ming-liang’s films, in a delicate, multilayered performance) falls under suspicion, revealing multiple secret inner lives among a group of interconnected characters. From this gripping set-up, writer-director Yeo Siew Hua constructs an unpredictable thriller that is as compelled by the mysteries of the human heart as it is by the ambiguities of living in a constant surveillance culture. An NYFF62 Main Slate selection. A Film Movement release.

Opens September 5
Riefenstahl
Andres Veiel, 2024, Germany, 115m
German, English, and French with English subtitles

Riefenstahl. Courtesy of Bayrische Staatsbibliothek Bildarchiv.

The latest documentary from Andres Veiel (Beuys) is a sobering interrogation of one of cinema’s most controversial figures: Leni Riefenstahl, the acclaimed director of Triumph of the Will and Olympia, whose aesthetic innovations helped mythologize the Third Reich. Drawing on unprecedented access to her personal archive—home movies, letters, recorded phone calls, unfinished memoirs—Veiel constructs a meticulous portrait of a woman who spent decades constructing her own legend while denying complicity in the regime she glorified. Far from a conventional biography, the film lets damning documents and images speak for themselves, revealing not only her unrepentant belief system but also the enduring power of spectacle to seduce, distort, and absolve. Riefenstahl is more than a historical exposé; it’s a meditation on the ethics of art and the dangers of self-deception. Winner of the Cinema & Arts Award at the 2024 Venice Film Festival. A Kino Lorber release.

Opens September 5
New 4K Restoration
Yi Yi
Edward Yang, 2000, Taiwan, 173m
Mandarin Chinese with English subtitles

Yi Yi. Courtesy of Janus Films.

A film of rare emotional precision and formal grace, Yi Yi is Edward Yang’s final completed feature and arguably his most beloved—a deeply felt, gently sprawling portrait of three generations of a Taipei family in quiet crisis. Middle-aged businessman NJ (played with understated depth by Wu Nien-Jen, a central figure of the New Taiwan Cinema) is facing personal and professional upheaval: his company is floundering, and an old flame has reappeared. Around him, his wife spirals into spiritual despair, his young daughter wrestles with guilt over her grandmother’s stroke, and his curious, observant son begins to glimpse the complications of adult life. Yi Yi unfolds like a perfectly calibrated timepiece—its emotional power accumulating through the smallest of moments. Winner of the Best Director award at Cannes in 2000, it returns to Film at Lincoln Center in a brand-new restoration. An NYFF38 Main Slate selection. A Janus Films release.

4K digital restoration carried out by Pony Canyon Inc., with analog and digital processes provided by Imagica Entertainment Media Services, Inc.

September 26-October 13
63rd New York Film Festival


Presented by Film at Lincoln Center in partnership with Rolex, the New York Film Festival (NYFF) is an annual celebration of the most significant international films of the season. NYFF has played a pivotal role in shaping film culture since its inception in 1963 and continues its enduring tradition of introducing audiences to bold and remarkable works from celebrated filmmakers as well as fresh new talent. The 63rd New York Film Festival will take place from September 26 to October 13 and festival passes are on sale now. 

News|Members

Make FLC Your Home for Cinema

Become a Member

Member Discount on All Tickets

NYFF Pre-Sale Access

Pre-sale Access to FLC Series and Festivals

Free Tickets

Exclusive Events

Members-only Newsletter

Film at Lincoln Center Logo

Walter Reade Theater + Elinor Bunin Munroe Film Center

165 and 144 W 65th Street

New York, NY 10023

212.875.5825

xfacebook
instagram
youtubespotifylinkedin

Be the first to hear exciting news and announcements from FLC, including upcoming programming, special offers, added tickets, and more.

Contact UsPressTerms of ServicePrivacy Policy
Sponsor logoSponsor logoSponsor logo