Art of the Real 2022
Film at Lincoln Center announces the ninth edition of Art of the Real, an indispensable showcase for the world’s most vital and innovative voices in nonfiction and hybrid filmmaking, taking place March 31–April 7.
This year’s edition of Art of the Real is a vibrant slate of works by internationally acclaimed artists, and includes 17 features and four shorts. This year’s filmmakers take aesthetically daring approaches to a range of pressing and perennial issues, creating meditative observations of natural environments, examining steadfast resolve in the presence of violence, and reflecting on global histories and economies.
Tickets now on sale!
Highlights include opening night selection My Two Voices, director Lina Rodriguez’s portrait of three women sharing their stories of transit between Colombia, Mexico, and Canada, told through gestures of intimacy and abstraction; filmmakers Milena Czernovsky and Lilith Kraxner’s Beatrix, a meditation on boredom and solitude; Come Here, Anocha Suwichakornpong’s restaging and reformatting of the past that follows four young actors on a trip to the site of the infamous Death Railway, built by local workers and Allied prisoners of war; Zhengfan Yang’s Footnote, an oblique chronicle of America’s tumultuous recent years; Dane Komljen’s Afterwater, which follows three trios of characters as they traverse three bodies of water in three time periods; Jonathan Perel’s Camouflage, which follows a writer on his daily runs through and around the ruins of Buenos Aires’s infamous military base Campo de Mayo; Jacquelyn Mills’s Geographies of Solitude, a portrait of conservationist Zoe Lucas and a multiple prizewinner at the recent Berlinale; Sharlene Bamboat’s If from Every Tongue It Drips, which explores questions of distance and proximity through scenes from the daily interactions between two Sri Lankan women; A Marble Travelogue by Sean Wang, tracing the strange and circuitous route of white marble quarried in Greece; David Easteal’s remarkable debut feature, The Plains, a three-hour journey seen from the backseat of a car driven by a middle-aged man on his daily commute over the course of a year; Jorge Jácome’s multi-sensory, multimedia collage Super Natural, which carries viewers from life’s liquid beginnings through multiple cycles of sleep and interspecies encounters; This House, Miryam Charles’s inquiry into the unexplained death of a 14-year-old girl in 2008; The Veteran, Jerónimo Rodríguez’s tracing of two friends’ journey together across Chile to New York and Iowa to research an urban legend about an American priest; and When There Is No More Music to Write, and Other Roman Stories, Éric Baudelaire’s triptych of stories reconstructing the volatile period of radical struggle in the 1960s and 1970s in Italy and the United States.
This year’s series also features a special section of selected works by Alice Diop, whose films capture the quotidian struggles of Black and immigrant communities in contemporary France. One of the most exciting documentarians working today, Diop will be in person for Q&As following her films, with such titles as her debut feature, The Death of Danton, about a 25-year-old Black man from the Paris suburbs who seeks to escape violence; On Call, Alice’s second feature, a powerful work of latter-day cinema vérité that chronicles the operations of a refugee medical clinic just outside Paris; and We, a kaleidoscopic portrait of the Parisian suburbs that was a highlight of last year’s New Directors/New Films festival.
This year’s shorts selections are Train Again, Peter Tscherkassky’s propulsive investigation of the twinned histories of cinema and trains; Maria Rojas Arias’s Abrir Monte, which combines archival footage and personal recollections to revisit the small town in the northwest of Colombia where the filmmaker’s grandmother was born and raised; and Beatriz Santiago Muñoz’s The Crow, the Trench and the Mare, which draws from methods of simultaneous narration from Sanskrit poetry.
Organized by Dennis Lim and Rachael Rakes, with program advisor Almudena Escobar López.
My Two Voices
Opening Night | Q&A with Lina Rodriguez and Brad DeaneThree women tell their stories of transit between Colombia, Mexico, and Canada in intimate voiceover: their reasons for migrating; the physical, linguistic, institutional challenges they endured; and their aspirations for the future of their children and themselves.
Q&A with Dane KomljenDeliquescent colors and luscious soundscapes mark Dane Komljen’s Afterwater, which follows three trios of characters as they traverse three bodies of water in three time periods and become lost in densely verdant landscapes or adrift on the surfaces of lakes.
Q&A with Milena Czernovsky & Lilith KraxnerIn Beatrix, debut filmmakers Milena Czernovsky and Lilith Kraxner render a young woman’s experience of boredom and solitude through a set of mundane activities, as she explores a suburban house alone.
Q&A with Jonathan PerelThrough a mix of staged and documentary scenes, Jonathan Perel’s Camouflage follows a writer on his daily runs through and around the ruins of Campo de Mayo, a large military base on Buenos Aires’s outskirts that was an infamous site of detentions, torture, and disappearances during Argentina’s Dirty War.
Q&A with Zhengfan YangA stark juxtaposition of boredom and violence, Zhengfan Yang’s film forms an oblique chronicle of America’s tumultuous recent years through two discordant mediums: scenes of daily life seen from his apartment window in Chicago, and the persistent chatter heard over the city’s police scanner.
Geographies of Solitude
Q&A with Jacquelyn MillsMixing vivid 16mm footage with hand-processed abstractions, Jacquelyn Mills’s film is a portrait of conservationist Zoe Lucas, one of the lone inhabitants of Sable Island, a 26-mile sandbar off the coast of Nova Scotia.
If from Every Tongue It Drips
A Marble Travelogue
Q&A with David EastealA surprising and transformative road movie, David Easteal’s remarkable debut feature takes the viewer on a three-hour journey from a single perspective: that of a camera fixed in the backseat of a car, riding along with a middle-aged man on his evening commutes home from work through suburban Melbourne over the course of a year.
Q&A with Jorge JácomeWashing color fields and glitching alien voices call us into Jorge Jácome’s Super Natural, a lush cinematic ecosystem carrying us from life’s liquid beginnings through multiple cycles of sleep, interspecies encounters, and media formats.
Q&A with Miryam CharlesBridging temporalities and locations—Haiti, Canada, the U.S.—This House narrates the events around the unexplained death of a 14-year-old girl in 2008 through staged tableaux, lyrical voiceover, and vivid 16mm cinematography.
Q&A with Jerónimo RodríguezTracing a wayward journey across Chile to New York and Iowa and back again, two friends attempt to research an urban legend about an American priest who, after dropping the atomic bomb on Hiroshima and Nagasaki, emigrated to South America.
When There Is No More Music to Write, and Other Roman Stories
Q&A with Éric BaudelaireInspired by a set of improvisations by the American composer and sound artist Alvin Curran, Éric Baudelaire’s triptych of stories reconstructs the volatile period of radical struggle in the 1960s and 1970s in Italy and the United States. Screening with Maria Rojas Arias's Abrir Monte.
Spotlight on Alice Diop
This year’s series also features a special section of selected works by Alice Diop, whose films capture the quotidian struggles of Black and immigrant communities in contemporary France. One of the most exciting documentarians working today, Diop will be in person for Q&As following her films.
The Death of Danton
Q&A with Alice DiopA powerful work of latter-day cinema vérité, Alice Diop’s second feature chronicles the operations of a refugee medical clinic at the Avicenne Hospital just outside Paris.
Q&A with Alice DiopIn this nuanced, sophisticated, and wonderfully engaging documentary, filmmaker Alice Diop creates a kaleidoscopic portrait of people from largely Black and immigrant communities in the Parisian suburbs.
Tickets now on sale!
Tickets for the 9th Art of the Real are $15; $12 for students, seniors (62+), and persons with disabilities; and $10 for Film at Lincoln Center members. Save with the purchase of three tickets or more! 3+ Film Package. Discount automatically applied when adding at least three tickets to your cart.
See more and save with an All-Access Pass for $79.
Students can save with the discounted Student All-Access Pass for $25.
All-Access Passholders can pick up their physical pass at the box office on the day of their first screening. Passholders must present this pass for entry at each screening and will not need individual tickets.
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