Film at Lincoln Center announces its full lineup of festival, repertory, and new release programming for the 2022 summer season.
Summer at FLC ushers in a bounty of new releases including: Dan Geller and Dayna Goldfine’s documentary Hallelujah: Leonard Cohen, a Journey, a Song, expertly weaving together Leonard Cohen’s life through the prism of his song’s dramatic journey; David Cronenberg’s Crimes of the Future, fresh out of Cannes and his newest offering of body horror; NYFF59 selection Memoria, perhaps the grandest yet most becalmed of Apichatpong Weerasethakul’s works starring Tilda Swinton; David Lynch’s haunting neo-noir new 4K restoration of Lost Highway; three selections from the FLC 2022 Rendez-Vous With French Cinema festival: Claire Denis’s Both Sides of the Blade starring Juliette Binoche, Mathieu Amalric’s Hold Me Tight and Xavier Giannoli’s Lost Illusions; Kiro Russo’s NYFF59 selection El Gran Movimiento (The Great Movement); a 4K restoration of the NYFF42 selection Keane, directed by Lodge Kerrigan; 4K restorations of Krzysztof Kieślowski’s Three Colors Trilogy; a long-overdue retrospective featuring selected works from director, producer and screenwriter King Vidor; a celebration of horror icon Dario Argento; New York, 1962-64: Underground and Experimental Cinema, co-presented with the Jewish Museum; and the return of two beloved festivals: Open Roads: New Italian Cinema and the New York Asian Film Festival.
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.
FILMS & SERIES DESCRIPTIONS
All films screen at the Walter Reade Theater (165 W. 65th St.) or Elinor Bunin Munroe Film Center (144 W. 65th St.).
Opens June 3
Crimes of the Future
David Cronenberg, 2022, Canada/France/Greece/United Kingdom, 107m
As the human species adapts to a synthetic environment, the body undergoes new transformations and mutations. With his partner Caprice (Léa Seydoux), Saul Tenser (Viggo Mortensen), celebrity performance artist, publicly showcases the metamorphosis of his organs in avant-garde performances. Timlin (Kristen Stewart), an investigator from the National Organ Registry, obsessively tracks their movements, which is when a mysterious group is revealed… Their mission – to use Saul’s notoriety to shed light on the next phase of human evolution. A NEON release. Tickets now on sale.
Open Roads: New Italian Cinema
Open Roads: New Italian Cinema is the only screening series to offer North American audiences a diverse and extensive lineup of contemporary Italian films. This year’s edition again strikes a balance between emerging talents and esteemed veterans; commercial and independent fare; outrageous comedies, gripping dramas, and captivating documentaries. Tickets now on sale.
Co-presented by Film at Lincoln Center and Istituto Luce Cinecittà. Organized by Dan Sullivan, Film at Lincoln Center; and by Carla Cattani, Griselda Guerrasio, and Monique Catalino, Istituto Luce Cinecittà.
Opens June 10
Lost Illusions / Illusions perdues
Xavier Giannoli, 2021, France, 149m
French with English subtitles
In 1821, Lucien de Rubempré (Benjamin Voisin) arrives in Paris as a sensitive and idealistic young poet determined to write a reputation-making novel. Instead, he finds himself swept into journalism, whose influence and reach is booming with the help of the printing press, widely available of late. Under the mentorship of editor Étienne Lousteau (Vincent Lacoste), Lucien agrees to write rave theater reviews for bribes, achieving material success at the expense of his conscience. With this sweeping, sumptuous adaptation of one of Honoré de Balzac’s greatest novels, Xavier Giannoli crafts a surprisingly contemporary tale of corruption amidst an early form of “fake news,” boasting an all-star cast that includes Gérard Depardieu and Jeanne Balibar. A Music Box Films release. Tickets now on sale.
June 17-23 Only
Apichatpong Weerasethakul, 2021, Colombia/Thailand/UK/France/Germany/Mexico/Qatar, 136m
English and Spanish with English subtitles
Collective and personal ghosts hover over every frame of Memoria, somehow the grandest yet most becalmed of Apichatpong Weerasethakul’s works. Inspired by the Thai director’s own memories and those of people he encountered while traveling across Colombia, the film follows Jessica (a wholly immersed Tilda Swinton), an expat botanist visiting her hospitalized sister in Bogotá; while there, she becomes ever more disturbed by an abyssal sound that haunts her sleepless nights and bleary-eyed days, compelling her to seek help in identifying its origins. Thus begins a personal journey that’s also historical excavation, in a film of profound serenity that, like Jessica’s sound, lodges itself in the viewer’s brain as it traverses city and country, climaxing in an extraordinary extended encounter with a rural farmer that exists on a precipice between life and death. Winner of the Jury Prize at the 2021 Cannes Film Festival. A NEON release. Tickets now on sale.
Beware of Dario Argento: A 20-Film Retrospective
Ever since his heart-stopping directorial debut, The Bird with the Crystal Plumage (1970), Dario Argento has been redrawing the boundaries of cinematic horror with flamboyant violence, feverish plotting, and deliriously stylized compositions. Perhaps most closely associated with giallo, the pulpy Italian subgenre he helped formalize and would later take to unprecedented heights with his international breakthrough, Deep Red (1975), Argento embraces a gamut of fantastical influences—from sublime Gothic art and penny dreadfuls to Murnau, Hitchcock, and Disney—with his distinctively baroque style of disorienting cinematography, stained-glass colorwork, and elaborate musical scores (often composed by his own rotating house group, Goblin). This June, following the 2018 box office–smashing Luchino Visconti and 2019 Ermanno Olmi retrospectives, Film at Lincoln Center and Cinecittà are pleased to present Argento’s singular and influential feature films, 17 of them premiering in brand-new 4K restorations, with the director in person for select screenings. Tickets now on sale.
Organized by Madeline Whittle and Tyler Wilson of Film at Lincoln Center, and by Camilla Cormanni, Paola Ruggiero, and Marco Cicala of Cinecittà. Co-produced by Cinecittà, Rome. Presented in collaboration with the Italian Cultural Institute. Sponsored by MUBI.
Opens June 24
New 4K Restoration
David Lynch, 1997, USA/France, 134m
Most of Lynch’s later films straddle (at least) two realities, and their most ominous moments arise from a dawning awareness that one world is about to yield to another. In Lost Highway, returning to Film at Lincoln Center in a new 4K restoration, we are introduced to brooding jazz saxophonist Fred Madison (Bill Pullman) while he lives in a simmering state of jealousy with his listless and possibly unfaithful wife Renee (Patricia Arquette). About one hour in, a rupture fundamentally alters the narrative logic of the film and the world itself becomes a nightmare embodiment of a consciousness out of control. Lost Highway marked a return from the wilderness for Lynch, and the arrival of his more radical expressionism—alternating omnipresent darkness with overexposed whiteouts, dead air with the belligerent soundtrack assault of industrial metal bands, and the tactile sensation that everything is really happening with the infinite delusions of schizophrenic thought. A Janus Films release.
Opens July 1
Hallelujah: Leonard Cohen, a Journey, a Song
Dan Geller and Dayna Goldfine, 2021, USA, 115m
The decades-long, shape-shifting trajectory of singer-songwriter Leonard Cohen’s internationally renowned hymn “Hallelujah” remains a story unlike anything in pop music. What began as verses written in a hotel room eventually transformed into an international anthem of melancholy; the soundtrack to tragedies, celebrations, and memorials; and a musical monolith covered by countless artists from different generations and genres. With unprecedented access to never-before-seen archival materials—including Cohen’s personal notebooks, journals, and photographs; performance footage; and extremely rare audio recordings and interviews—Dan Geller and Dayna Goldfine’s documentary expertly weaves together Cohen’s life through the prism of his song. Moving testimonies from artists for whom “Hallelujah” has become a personal touchstone recount its dramatic journey from record-label reject to chart-topping hit. A Sony Pictures Classics release.
Opens July 8
New 4K Restoration
Three Colors: Blue
Krzysztof Kieślowski, 1993, France/Poland/Switzerland, 98m
French, Romanian, and Polish with English subtitles
When a young woman (Juliette Binoche) loses her famous composer husband and daughter in a car accident, she subsequently enters a strange, rarefied zone of loss and liberty where she reexamines every aspect of their lives together. For the devastating first film of the director’s Three Colors trilogy, named in reference to the French flag and representing the tenets of the French Revolution—liberty, equality, and fraternity—Kieślowski compared himself to a physicist looking at the microscopic elements of life, and in this haunting, melancholy work, he seems to examine nothing less than the anatomy of a damaged soul. Shot in sapphire tones by longtime collaborator Sławomir Idziak, and set to an operatic score by Zbigniew Preisner, Blue is one of the director’s most visually elegant, intensely moving works. Winner of the Golden Lion and the Best Actress prize at the 1993 Venice Film Festival. An NYFF31 selection. New 4K restoration under the supervision of Director of Photography Sławomir Idziak. A Janus Films release.
Opens July 8
Both Sides of the Blade / Avec amour et acharnement
Claire Denis, 2022, France, 116m
French with English subtitles
The legendary Claire Denis delivers an understated yet psychologically vivid romantic drama, co-written with her Let the Sunshine In collaborator Christine Angot. On her way to work one day, Sara (Juliette Binoche) spies her ex-lover François (Grégoire Colin) outside of the metro; shortly thereafter, by a seeming coincidence, François gets in touch with Jean (Vincent Lindon), his old friend—and Sara’s husband—to propose they go into business together. François’s unexpected reemergence in their lives, and the emotional destabilization that comes with it, propel this finely wrought and melancholic narrative, with Denis’s characteristic knack for capturing the intimate sensuality of everyday life on full display, bolstered by a typically gorgeous score from regular collaborators Tindersticks. A 2022 Rendez-Vous with French Cinema selection. An IFC Films release.
New York Asian Film Festival
The New York Asian Film Festival celebrates its 20th Anniversary in 2022, marking two decades as the leading showcase of the best and boldest in Asian cinema. The first festival in North America to present the films of today’s preeminent Asian auteurs, NYAFF has introduced the most vibrant and vital voices in works ranging from explosive blockbusters to eccentric art-house gems. As we continue to champion increased Asian representation, NYAFF provides an essential connection and awareness to our community in New York and beyond through screenings in Lincoln Center theaters.
July 29-August 4
New York, 1962-64: Underground and Experimental Cinema
1962 to 1964 comprised a pivotal moment in the evolution of American arts and culture, especially in New York City. These years—crucial to the development of pop, minimalism, and performance—saw the emergence of a new generation of radical artists, as well as venues which gave their iconoclastic work a home and a context. Movies, meanwhile, were undergoing a dramatic transformation of their own: the rise of a truly independent cinema, of works unencumbered by the medium’s aesthetic conventions and commercial imperatives. FLC’s highly focused series, which coincides with the Jewish Museum’s upcoming exhibition “New York: 1962-1964” (on display from July 22, 2022 to January 8, 2023), will feature key efforts by Kenneth Anger, Shirley Clarke, the Kuchar Brothers, Marie Menken, Jonas Mekas, Carolee Schneemann, Jack Smith, and Andy Warhol, to name a handful. Join us as we look back on this richly various—and still underappreciated—period of experimental cinema.
Organized by Thomas Beard and Dan Sullivan. Co-presented with the Jewish Museum. A related series of films from the era will run at Film Forum, July 22-August 11.
A fascinating and prolific figure whose career bridged the silent and sound eras of Hollywood, King Vidor completed over 50 feature films during a career that spanned nearly seven decades. Vidor’s cinema, rich with idiosyncratic takes on well-trodden Hollywood forms, arced across a wide range of genres, from the western to the musical to the maternal melodrama (late in his career, he even produced an educational primer on metaphysics). These movies also made a considerable impression on the critics-turned-directors of Cahiers du Cinéma and the French New Wave, namely Luc Moullet and Jean-Luc Godard. Yet, for all his on-screen achievements, Vidor is seldom given his due as one of the studio system’s enduringly great auteurs. Join us at FLC as we seek to change that with a long overdue retrospective, a survey of his vast body of work that highlights both his most celebrated pictures alongside undersung efforts.
Organized by Thomas Beard and Dan Sullivan.
Opens August 5
New 4K Restoration
Three Colors: White
Krzysztof Kieślowski, 1994, France/Poland/Switzerland, 91m
Polish and French with English subtitles
Split between Paris and Warsaw, the middle film in Kieślowski’s Three Colors—perhaps the most biting and playful entry in the trilogy—is a darkly funny revenge film about post-communist Poland’s position in the burgeoning European Union, as well as a strangely moving, lyrical portrait of tortured love. Zbigniew Zamachowski plays Karol Karol, an endearingly Chaplinesque schlemiel who adores his wife (Julie Delpy) with such passion that he’s rendered sexually impotent in her arms. After she strips him emotionally and materially, he returns to Poland, where various droll and highly lucrative developments permit him to turn the tables on the woman who is forever imprisoned in his heart. Winner of the Silver Bear for Best Director at the Berlin Film Festival. New 4K restoration. A Janus Films release.
Opens August 12
El Gran Movimiento (The Great Movement)
Kiro Russo, 2021, Bolivia/France/Qatar/Switzerland, 85m
Spanish with English subtitles
Expanding on the hybrid narrative of his remarkable 2016 film Dark Skull, Kiro Russo has mounted a monumental, gently mystical portrait of the contemporary central South American cityscape and those who work within its bowels and environs. Set in the alternately harsh and beautiful terrain of La Paz, Bolivia and its surrounding rural areas, El Gran Movimiento follows a young miner as he looks for work alongside his friends, even as he begins to descend into a mysterious sickness. With its marvelous long-lens zoom work and increasingly dynamic, rhythmic editing, Russo’s film is a hypnotic journey into a psychological space that touches upon the supernatural. A NYFF59 selection. A KimStim release.
Opens August 19
New 4K Restoration
Lodge Kerrigan, 2004, USA, 94m
Reaffirming the director’s singular vision established over a decade prior with his equally unnerving and visceral 1993 debut Clean, Shaven, Lodge Kerrigan’s third feature stars Damian Lewis—in a revelatory, career-defining performance—as Keane, a man haunted by the circumstances of his daughter’s apparent abduction in Manhattan’s Port Authority. Kerrigan captures his troubled protagonist’s state of permanent, feverish transit through long single takes of tightly composed, handheld camerawork, as Keane becomes increasingly desperate and, eventually, attached to a financially strapped mother (Amy Ryan) and her seven-year-old daughter (Abigail Breslin). A powerful, suspenseful film about loss, trauma, and the despair wrought by mental illness, Keane endures as one of the most masterfully crafted, uncompromising American independent works of the aughts. A NYFF42 selection. New 4K restoration from the original 35mm camera negative, supervised by Kerrigan and acclaimed editor Kristina Boden. A Grasshopper Film release.
Opens August 26
New 4K Restoration
Three Colors: Red
Krzysztof Kieślowski, 1994, France/Poland/Switzerland, 99m
French with English subtitles
Nominated for three Academy Awards (Best Original Screenplay, Best Cinematography, and Best Director), Kieślowski’s magnificent final feature, an astonishing affirmation of life and art, brings his Three Colors trilogy to its conclusion. Red concerns the unlikely meeting between the beautiful model Valentine (Irène Jacob) and a retired judge (Jean-Louis Trintignant), whose dog she has run over with her car. The judge, she discovers, amuses himself by eavesdropping on each of his neighbors’ phone conversations. Meanwhile, near Valentine’s apartment lives a young man (Jean-Pierre Lorit) who aspires to be a judge and loves a woman who will betray him. From these characters’ overlapping interactions, Kieślowski builds to a staggering coincidence, presented in the film’s final minutes, that casts the entire trilogy in a new light. An NYFF32 selection. New 4K restoration under the supervision of Directors of Photography Piotr Sobocinski Jr. and Michal Sobocinski, sons of original Director of Photography Piotr Sobocinski. A Janus Films release.
Opens September 9
Hold Me Tight / Serre moi fort
Mathieu Amalric, 2021, France, 97m
French and German with English subtitles
Vicky Krieps (Phantom Thread, Bergman Island) gives another riveting performance as Camille, a woman on the run from her family for reasons that aren’t immediately clear. Widely renowned as an actor but less well-known here for his equally impressive work behind the camera, Mathieu Amalric’s sixth feature directorial outing—his most ambitious to date—is a virtuosic, daringly fluid portrait of one woman’s fractured psyche. Alternating between Camille’s adventures on the road and her abandoned husband Marc (Arieh Worthalter) as he struggles to take care of their children at home, Amalric’s film keeps viewers uncertain as to the reality of what they’re seeing until the final moments of this richly rewarding, moving, and unpredictable portrait of grief. A 2022 Rendez-Vous with French Cinema selection. A Kino Lorber release.