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

Film at Lincoln Center welcomes back several festival favorites this summer, with highlights from the 63rd New York Film Festival lineup including Mark Jenkin’s Rose of Nevada (opens June 19), a sci-fi-tinged tale starring George MacKay and Callum Turner; Carla Simón’s moving, autobiographical Romería (opens June 26); and Kent Jones’s sophomore feature starring Willem Dafoe, Late Fame (opens August 7), with all three directors in person for Q&As following select screenings. Featured from this year’s New Directors/New Films is Kevin Walker and Jack Auen’s intellectually complex thriller Chronovisor (opens September 4)––preceded by Bibliomania: A Preface to Chronovisor (August 28–September 3), a curated anthology of features and shorts that brilliantly wring suspense, humor, and terror from seemingly undramatizable subjects. 

FLC will exclusively open a new 4K restoration of Jane Campion’s Palme d’Or–winning The Piano (opens July 24), starring Holly Hunter and Anna Paquin in Oscar-winning roles; and Tsai Ming-liang’s fourth feature The Hole (opens July 10 on a new 35mm print), which transforms a decaying Taipei apartment building into an unusual and affecting apocalyptic love story. More new theatrical releases include Kiyoshi Kurosawa’s Cannes Film Festival selection The Samurai and the Prisoner (opens July 31), a tense, thought-provoking detective tale set in 16th-century Japan, with the director in person for select screenings; the 4K restoration of František Vláčil’s medieval epic Marketa Lazarová (September 4–13), often hailed as the greatest Czech film ever made; and the New York premiere of the 4K restoration of Idrissa Ouédraogo’s Samba Traoré (opens August 28), winner of the Silver Bear at the 1993 Berlinale.

Audiences will experience cinema on a monumental scale with It’s All a BIG Conspiracy (July 1–9), charting the evolution of conspiracy as a powerful staple of American cinema through a selection of masterpieces presented entirely on 70mm in the Walter Reade Theater. Enhanced by the grandeur of wide-gauge imagery, these films sweep viewers into immersive worlds of paranoia and subterfuge, that effortlessly suspend disbelief while offering intricate details that reward close, analytical viewing.

Additional FLC series include Scary Movies XIV (August 12–20), the latest edition of New York’s top showcase for radical horror cinema, where world-class premieres meet midnight classics; a retrospective honoring the great Indian filmmaker Shyam Benegal (August 21–27), who through imagined and true stories, held up a mirror to modern India, tackling patriarchy, the struggles of women, and caste discrimination; and Summer for the City Outdoor Film Series: Penalty Flicks (July 9–18), the return of FLC’s free outdoor screenings and part of “World at Play at Lincoln Center,” a campus-wide series celebrating the global spirit of soccer and the intersections of arts and sports.

Two special FLC events include Celebrating Marilyn Monroe at 100: Gentlemen Prefer Blondes (July 28), an evening featuring Howard Hawks’s classic film projected from an archival 35mm print, followed by a reception for all guests in the Walter Reade Theater’s Frieda and Roy Furman Gallery; and Film Comment Live: Hold Everything Dear — John Berger and Cinema (July 29–August 2), celebrating the renowned critic by shining a light on a lesser-known dimension of his work and legacy: its affinity with cinema. Beginning at FLC with the rarely screened Pier Paolo Pasolini and Giuseppe Bertolucci film La rabbia di Pasolini, the series partners with the Brooklyn Academy of Music (BAM), Anthology Film Archives, the Museum of the Moving Image, and Metrograph to showcase additional films Berger shaped, critiqued, or inspired, plus talks that revive his intellectual and political legacy for modern film culture.

FLC also welcomes the return of the New York Asian Film Festival (July 10–23) in its 25th year, as well as the 64th edition of the New York Film Festival, presented in partnership with Rolex, from September 25 through October 12.

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.

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

Opens June 19 with Mark Jenkin in person
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. Tickets on sale now.

Friday, June 19 at 6:15pm (on 35mm) – Q&A w. Mark Jenkin
Saturday, June 20 at 6:15pm (on 35mm) – Q&A w. Mark Jenkin

Opens June 26 with Carla Simón in person
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. Tickets on sale now.

Friday, June 26 at 6:00pm – Q&A with Carla Simón
Saturday, June 27 at 6:00pm – Q&A with Carla Simón

July 1–9
It’s All a BIG Conspiracy

Batman

Conspiratorial thinking has migrated from the margins toward one of the defining moods of our present—not merely the belief in a single grand secret plot but an ambient suspicion that the visible world is organized by forces beyond ordinary perception. Hollywood especially has made this suspicion feel so natural (amusing, even) that we often overlook how many of its most gripping pictures, far beyond the paranoid thriller canon, rely on the seductive notion that the world’s complexities ultimately yield to a secret, meticulously orchestrated logic. “It’s All a BIG Conspiracy” will put this idea under a magnifying glass with a program of 70mm films basking in the allure of collusion as one of Hollywood’s most pliable and captivating storytelling maneuvers. Amplified by the grandeur of wide-gauge imagery and enormous soundscapes, these films will plunge us into worlds immersive enough to disarm our skeptical distance, yet detailed enough to reward near-forensic scrutiny. From conniving in Chicago and Gotham City to palace intrigue both Shakespearean and interstellar, from postwar cultic doctrine and political surveillance to corporate cover-ups, spycraft, and systemic violence embedded within Hollywood and beyond, this July Fourth week invites you to peer beneath narratives whose foreboding webs—both conspicuous and clandestine—are threaded into American consciousness itself… or simply surrender to the 5-perf spectacle.

July 9–18
Summer for the City Outdoor Film Series: Penalty Flicks

Shaolin Soccer

Join FLC at this year’s free outdoor screening series at Lincoln Center’s Hearst Plaza, taking place as part of the program World at Play at Lincoln Center, a campus-wide series celebrating the global spirit of soccer and the intersections of arts and sports. The series opens with Ben Nichols and David Tryhorn’s documentary on the Brazilian “King of Soccer” Pelé and includes Jafar Panahi’s sharply observed social comedy Offside, Gabriel Abrantes and Daniel Schmidt’s NYFF56 selection Diamantino, Stephen Chow’s ​​high-octane cult favorite Shaolin Soccer, Romanian New Wave master Corneliu Porumboiu’s documentary Infinite Football, and Andy Fickman’s millennial rom-com classic She’s the Man. Learn more.

July 10–23 at FLC
New York Asian Film Festival

Fat Choi Spirit (©2010 Fortune Star Media Limited All Rights Reserved); Gamer Girls (courtesy of Film Movement); Colony (courtesy of Well Go USA Entertainment); Crossing a Dawn (©Momo Pictures); and Montreal, Ma Belle (©Filmoption International)

Celebrating its 25th anniversary this year, the New York Asian Film Festival returns with another exciting lineup full of both discoveries from exciting new voices and massive hits from Asian countries that have been primarily unseen in the U.S. and New York. More than 50 filmmakers, ranging from acclaimed veterans to first-time filmmakers, will be on hand for post-screening Q&As and special appearances throughout the festival, which runs July 10 to July 26 across five New York venues. Learn more.

Opens July 10 exclusively at FLC
The Hole
Tsai Ming-Liang, 1998, Taiwan, 35mm, 98m
Mandarin and Taiwanese with English subtitles
New York Premiere of New 35mm Print

The Hole

Set on the eve of the 21st century, Tsai Ming-liang’s fourth feature turns a crumbling Taipei apartment block into one of cinema’s strangest and most tender end-of-the-world romances. Perennial muse Lee Kang-sheng (“the man upstairs”) and Yang Kuei-mei (“the woman downstairs”) are among the building’s last holdouts, refusing evacuation as a mysterious epidemic spreads outside and rain batters the city without end. When a plumber leaves behind an unfinished repair, the man’s floor opens into an accidental passage between two sealed-off lives, turning leaks, trash, pesticide, and petty territorial warfare into a strange form of courtship. Among the most disarmingly funny and cathartic entries in Tsai’s filmography, The Hole finds hope in a world that seems to be falling apart, breaking its deadpan plague scenario open with splendorous Grace Chang musical numbers and poker-faced slapstick. Returning to FLC for its first-ever New York theatrical release on a newly struck 35mm print, this 1998 vision of isolation remains uncannily, exhilaratingly prescient. A Big World Pictures release.

Opens July 24 exclusively at FLC
The Piano
Jane Campion, 1993, New Zealand/Australia/France, 121m
New 4K Restoration

The Piano

Jane Campion’s Palme d’Or–winning breakthrough remains one of cinema’s great gothic romances. In the 19th century, Ada (Holly Hunter), a mute Scotswoman, and her young daughter Flora (Anna Paquin), both played in Oscar-winning performances, arrive on the storm-lashed coast of colonial New Zealand for Ada’s arranged marriage to the rigid Stewart (Sam Neill). When Stewart sells Ada’s beloved piano, the instrument through which she speaks, to his neighbor Baines (Harvey Keitel), Ada enters into a dangerous key-by-key bargain to reclaim it. A ravishingly physical work, with a Brontëan sense of turbulent passion carried by Michael Nyman’s indelible score, The Piano brought the psychological daring of Campion’s earlier work to the world stage and still feels startlingly alive. NYFF31 Closing Night selection. A Sony Pictures Classics release.

The new 4K UHD restoration was supervised and approved by Jane Campion and her director of photography, Stuart Dryburgh. This new 4K restoration was made in the United States in Dolby Vision HDR 16-bit 4K from the original 35mm image negative scanned on Arriscan at the Fixafilm lab in Australia. Color grading was supervised and approved by Jane Campion and Stuart Dryburgh, with a 35mm print from the Academy of Motion Picture Arts and Sciences used as a reference. The original 5.1 audio mix was remastered from the original 24-track digital.

July 28
Celebrating Marilyn Monroe at 100: Gentlemen Prefer Blondes on 35mm

Gentleman Prefer Blondes

To celebrate the 100th anniversary of Marilyn Monroe’s birth, FLC is partnering with Piper-Heidsieck Champagne for a one-night-only special event featuring an archival 35mm print of Howard Hawks’s classic, Gentlemen Prefer Blondes. The film stars Monroe and Jane Russell as lounge singers on a transatlantic cruise, working their way to Paris while enjoying the company of any eligible men they might meet along the way. The famous musical numbers dazzle with rich colors and wink-wink lyrics, but underneath there’s a touching tale of friendship tested and Hawks’s clever take on gender politics. Following the screening, all ticket holders are invited to attend a reception in the Walter Reade Theater’s Frieda and Roy Furman Gallery to enjoy Piper-Heidsieck Champagne (for guests 21+), hors d’oeuvres, and a special fundraiser auction with all proceeds benefiting FLC, featuring a Piper-Heidsieck Champagne art bottle and original art piece designed by artist Russell Young, an exclusive trip to Champagne, France, featuring a behind-the-scenes Piper-Heidsieck experience, and more. Tickets on sale Thursday, June 11 at 2pm, with pre-sale for FLC Members at noon.
Tuesday, July 28 at 6:30pm

July 29–August 2
Film Comment Live: Hold Everything Dear — John Berger and Cinema

Courtesy of the Estate of John Berger

Perhaps best known as the host of Ways of Seeing, the 1972 BBC program that introduced a generation to the ideological analysis of visual art, John Berger was one of the most important writers of the last century. Across an oeuvre comprising modernist novels, breathtaking analyses of painting and photography, and much else, Berger was the rare critic for whom art was, always and necessarily, a site of both power and beauty. To mark Berger’s centennial, Film Comment shines a light on a lesser-known dimension of his work and legacy: its affinity with cinema. From July 29 to August 2 at Film at Lincoln Center, Brooklyn Academy of Music, Anthology Film Archives, the Museum of the Moving Image, and Metrograph, this series features a selection of films that Berger worked on, wrote about, or inspired, along with talks that reinvigorate his intellectual and political legacy for contemporary film culture. The series begins July 29 at FLC with Pier Paolo Pasolini and Giuseppe Bertolucci’s rarely screened La rabbia di Pasolini, followed by a conversation about the legacy of John Berger. Subscribe to Film Comment for pre-sale access.

Opens July 31 with Kiyoshi Kurosawa in person
The Samurai and the Prisoner
Kiyoshi Kurosawa, 2026, Japan, 147m
Japanese with English subtitles

The Samurai and the Prisoner

In 16th-century Japan, Lord Murashige (Masahiro Motoki) turns against Oda, the warlord he once served, and is besieged inside his own castle, where inexplicable crimes begin to look to Murashige and his frightened advisors like signs of divine judgment. As Oda’s invading army tightens its grip outside and suspicion infiltrates the stronghold, Murashige is forced to consult Kanbei (Masaki Suda of Cloud), the cunning strategist he has locked in the dungeon, while his wife Chiyoho (Yuriko Yoshitaka) and his generals try to keep the court from devouring itself. Kiyoshi Kurosawa’s stately jidaigeki—adapted from Honobu Yonezawa’s best-selling, Naoki Prize–winning novel and selected at this year’s Cannes Film Festival—is a tense and metaphysical whodunit with the director’s characteristic philosophical overtones, bringing the winding investigations of Cure and Serpent’s Path into a meticulously composed period piece about the manipulation of terror. A Janus Films release.

Opens August 7 with Kent Jones in person
Late Fame
Kent Jones, 2025, U.S., 96m 

Late Fame. Courtesy of Magnolia Pictures.

A wonderfully introspective Willem Dafoe lends his delicate gravitas to the role of Ed Saxberger, a once-upon-a-time New York poet who has worked at a post office for nearly four decades, his work now largely forgotten. After an eager and flattering young fan (Edmund Donovan) appears on his doorstep one night, Saxberger is welcomed into a new coterie of twentysomething admirers who hope to make him the central figure in an emerging literary salon. Intoxicated by the attention—and the presence of the wannabe tragedienne Gloria (a sinuous, Kurt Weill–crooning Greta Lee)—Saxberger nevertheless must reckon with the authenticity of this newfound circle of aspirants. Kent Jones’s thoughtful and marvelously witty second feature adapts Arthur Schnitzler’s recently rediscovered novella Late Fame (in a sly, hugely entertaining script by Oscar-nominated May December writer Samy Burch), updating the Austrian writer’s take on turn-of-the-century Vienna for a wistful yet unromantic look at a lost idea of downtown New York. An NYFF63 Main Slate selection. A Magnolia Pictures release.

August 12-20
Scary Movies XIV

Scary Movies XIII Opening Night. Photo by Arin Sang-urai.

They’re heeeere…  Since its founding in 2002, Scary Movies has offered moviegoers the cathartic treat of experiencing world-class suspense, gore, and terror of all stripes on the big screen, celebrating film’s boundless capacity to probe the creepiest corners of the human psyche, and inviting audiences to confront their most visceral fears in the company of dedicated fellow thrill-seekers. This August, Film at Lincoln Center is excited to present the 14th edition of Scary Movies, New York City’s premium showcase for the best in boundary-pushing horror (and horror-adjacent) cinema from around the globe, premiering new works alongside special presentations of spine-tingling classics and rediscoveries conjured from the dark recesses of midnight-movie lore.

August 21-27
Shyam Benegal

Ankur

One of the great Indian filmmakers to emerge in the 1970s, as well as a leading figure of the “parallel cinema” movement, Shyam Benegal (1934–2024) is a major artist ripe for discovery by an American audience. He completed 24 feature films across an astonishing four-decade-plus career. His oeuvre spans fiction and documentary, and in both instances he movingly and masterfully held up a critical mirror to a modernizing Indian society, especially training his focus on its patriarchal tendencies, the plight of women, and the persistence of the caste system in an age of escalating capitalist development. His politically tinged, psychologically rich melodramas abound with some of the era’s greatest on-screen performers: Shabana Azmi, Smita Patil, Om Puri, Amrish Puri, Shashi Kapoor, and Naseeruddin Shah, to name a few, all turned in some of their most remarkable performances under his watch. Join FLC this August for a can’t-miss retrospective of Benegal’s astounding, galvanizing films, many of which will be presented in new digital restorations.

Opens August 28
Samba Traoré
Idrissa Ouédraogo, 1992, Burkina Faso/France/Switzerland, 85m
Mooré, Dyula, and French with English subtitles
New York Premiere of New 4K Restoration

Samba Traoré. Courtesy of Film Movement.

Made in the wake of his Cannes Grand Prix winner Tilaï, the great Burkinabé writer-director Idrissa Ouédraogo’s fifth feature begins with a botched service-station robbery and follows its lone survivor home, where a suitcase of stolen cash begins to look, at least from a distance, like providence. Back in his village, Samba (Bakary Sangaré) buys cattle, opens a bar with a childhood friend, marries the woman he once loved (Mariam Kaba) and becomes a father figure to her young son, even as rumor and conscience gradually expose the shaky terms of his new life. Ouédraogo, who in the 1990s began drawing his humanist realism in closer contact to genre stylism, deploys the film’s thriller shape to examine what guilt does to a man once his material life begins to flourish, and how a community comes to share, profit from, and finally question the lie on which that prosperity rests. Winner of the Silver Bear at the 1993 Berlinale and newly restored in 4K, Samba Traoré remains one of the decisive works of African cinema. A Film Movement release.

Restored in 4K, the 35mm original image and sound negative were digitized in high quality, digitally restored, and a new color grading was applied by Cinegrell. All the original elements are preserved at the Cinémathèque Suisse on behalf of Waka Films.

August 28-September 3
Bibiliomania: A Preface to Chronovisor

Chronovisor premiere at New Directors/New Films 2026. Photo by Arin Sang-urai.

Opening September 4 at Film at Lincoln Center, Chronovisor follows Columbia scholar Béatrice Courte into the analog archives of New York City’s historic libraries on an all-consuming academic investigation into the story of a disputed Vatican time-viewing device. Kevin Walker and Jack Auen’s utterly unique debut feature performs a remarkable sleight of hand by transforming the private, internal momentum of close study into a genuinely kinetic pursuit, with each passage and cross-reference drawing Béatrice, and us, further into an obsessive—yet largely deskbound—investigation. Presented in the lead-up to the film’s theatrical release, Bibliomania gathers films and moving-image works that find suspense, jokes, terror, revelation, strange pleasures, and formal invention in acts that might, at first glance, seem almost impossible to dramatize. These are films of secret books and scholarly obsessions—where archives set the stage for research montages, becoming thresholds to forbidden texts and occult objects, where words get scrutinized so closely they begin to look back at those of us reading them in a movie theater. Spanning Hollywood adventures and armchair mysteries to ghost stories, essay films, structural experiments, and text cinema, this series traces the many ways artists have transformed the taciturn labor of reading and research into cinema. This summer, come study with us at the Walter Reade Theater, and remember: our tickets make handy bookmarks, too.

Opens September 4 with Kevin Walker and Jack Auen in person
Chronovisor
Kevin Walker, Jack Auen, U.S., 2026, 100m
French, English, German, and Italian with English subtitles

Chronovisor. Courtesy of Grasshopper Film.

Benedictine monk Father Pellegrino Ernetti claimed to have invented, alongside Enrico Fermi and Wernher von Braun, a device called the Chronovisor, capable of transmitting events of the past as if live on TV. He professed to have witnessed orations by Cicero and the Crucifixion, though the evidence he provided, reported in the Italian press, was widely disputed. Taking this as their jumping-off point, filmmakers Kevin Walker and Jack Auen engage in a form of time travel as well, following Columbia scholar Béatrice Courte (real-life professor Anne-Laure Sellier), who comes across the Chronovisor while researching an unrelated topic and then, like countless hyperlink- or microfiche-surfing grad students before her, gets lost on an academic side quest. Traveling deeper and deeper into a stubbornly analog archive, she unearths an elaborate web of conjecture and conspiracy reaching all the way up to the highest echelons of the Vatican. Dense with on-screen text from real primary sources, scored to music by Gustav Holst, and shot on 16mm in the pooling shadows of many of New York City’s historic libraries, Chronovisor is a witty literary mystery about one of the many secrets that still hide out in libraries, waiting for someone with time, curiosity, and a JSTOR login to come along and disturb the dusty stacks—a standout of this year’s New Directors/New Films and one of the year’s most singular and formally assured feature debuts. A Grasshopper Film release.

September 4-13
Marketa Lazarová
František Vláčil, 1967, Czechoslovakia, 165m
Czech and German with English subtitles
4K Restoration

Marketa Lazarová

František Vláčil’s staggering medieval epic, adapted from Vladislav Vančura’s landmark modernist novel, plunges into the blood-soaked borderlands of 13th-century Bohemia amid the uneasy transition from paganism to Christianity. Frequently hailed as the greatest Czech film ever made, Marketa Lazarová begins when the brutal Kozlík clan ambushes a noble procession and carries off a bishop-to-be, bringing the king’s soldiers down upon their forest stronghold. The violence soon reaches Marketa (Magda Vášáryová), a young woman promised to the convent, whose abduction by the nomadic horde’s fearsome Mikoláš (František Velecký) becomes the film’s harrowing emotional core. Shot in stark widescreen black and white and driven by Zdeněk Liška’s choral, percussive soundscape, Vláčil’s masterful epic remains a one-of-a-kind experience and perhaps cinema’s strangest, most beautiful, totally unrepeatable medieval vision. A Janus Films release.

September 25-October 12
64th New York Film Festival

Sentimental Value premiere at NYFF63. Photo by Sean DiSerio.

​Presented by Film at Lincoln Center in partnership with Rolex, the 64th New York Film Festival (NYFF64) will take place from September 25 through October 12, and is an annual celebration of the most significant films from around the world. Since its inception in 1963, NYFF has played a pivotal role in shaping film culture, presenting a curated selection of bold and remarkable works by acclaimed directors alongside emerging talents. Secure Passes by June 21 and save.

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]
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