Read Madeline Whittle on Return of the Secaucus Seven for Film Comment:

When I first saw the film as a teenager, I was quick to mine it for insight into the minds and hearts of my parents and their peers, and the world in which they had come of age. When I revisit the film now, as a youngish adult in my own right, it feels as new and essential as I imagine it must have felt to youngish adult New Yorkers like me, four decades ago.

Read Jordan Cronk on Doomed Love for Film Comment:

In 1980, New Directors/New Films featured fresh, 71-year-old Portuguese director Manoel de Oliveira, a giant of European art cinema who had recently embarked upon a remarkable second phase in his career. Arriving stateside two years after its debut on Portuguese public television, Doomed Love is Oliveira’s ambitiously mounted adaptation of Camilo Castelo Branco’s epic novel of the same name.

Melvin and Howard (Jonathan Demme) with Dance Space (John C. Avildsen) (Opening Night)
The Last Metro (François Truffaut) (Closing Night)
“Americana”: New York Story (Jackie Raynal), Rush (Evelyn Purcell), and Nights at O’Rear’s (Robert Mandel)
Bye Bye Brazil (Carlos Diegues) with The Solar Film (Saul and Elaine Bass)
Camera Buff (Krzysztof Kieslowski)
The Color of Pomegranates (Sergei Parajanov) with T.Z. (Robert Breer) and Dog’s Dialogue (Raúl Ruiz)
The Confessions of Wanda Sacher Masoch (Franco Brogi Taviani)
Confidence (István Szabó)
The Constant Factor (Krzysztof Zanussi) with Backdrop (Arthur Joffe)
Europa ’51 (Roberto Rossellini) (Retrospective selection)
Every Man for Himself (Jean-Luc Godard)
Handicapped Love (Marlies Graf) with Here’s Looking at You, Kid (William E. Cohen)
The Handyman (Micheline Lanctôt)
Kagemusha (Akira Kurosawa)
The Life and Times of Rosie the Riveter (Connie Field) with Quilts in Women’s Lives (Pat Ferrero)
Loulou (Maurice Pialat)
The Martin Scorsese Color Show: Once Upon a Time in the West (Sergio Leone) (Retrospective selection)
One Day Like Another (Mrinal Sen) with Marathon Woman, Miki Gorman (Ellen Freyer)
The Orchestra Conductor (Andrzej Wajda)
Special Treatment (Goran Paskaljevic)
Sunday Daughters (Janos Rozsa)
Tih Minh (Louis Feuillade) (Retrospective selection)

Read Devika Girish on One Day Like Another for Film Comment:

Mrinal Sen, the most radical of India’s parallel cinema pioneers, once said that his goal as a filmmaker was to “make things look unpretty, to keep the rough edges.” At first glance, his Ek Din Pratidin seems to belie that motto. Set over the course of a single night, the film captures the anguish of a lower-middle-class family when their sole breadwinner, a young woman named Chinu, doesn’t return home from work.

Chariots of Fire (Hugh Hudson) (Opening Night)
Man of Iron (Andrzej Wajda) (Closing Night)
The Aviator’s Wife (Eric Rohmer) with The Ballad of Lucy Jordan (Ian Moo Young) and Couples and Robbers (Clare Peploe)
The Beads of One Rosary (Kazimierz Kutz) with Coming Soon (Eugene Ferraro)
Beau Père (Bertrand Blier)
Bob le flambeur (Jean-Pierre Melville) (Retrospective selection)
Contract (Krzysztof Zanussi) with America Is Waiting (Bruce Conner)
Graduate First (Maurice Pialat) with Flying Fur (George Griffin)
Hopper’s Silence (Brian O’Doherty)
The Last to Know (Bonnie Friedman)
Lightning Over Water (Wim Wenders & Nicholas Ray) with Act of God (Peter Greenaway)
Looks and Smiles (Ken Loach) with Mirrored Reason (Stan VanDerBeek)
Matti de slegare (Silvano Agosti & Marco Bellocchio & Sandro Petraglia & Stefano Rulli)
Mephisto (István Szabó)
Mur Murs with Documenteur: An Emotion Picture (Agnès Varda)
My Dinner with Andre (Louis Malle) with Cecilia (Diana Michener)
The Mystery of Oberwald (Michelangelo Antonioni)
Only a Mother with Karin Mansdotter (Alf Sjöberg) (Retrospective selections)
Passione d’amore (Ettore Scola)
Le Pont du Nord (Jacques Rivette)
Resurgence: The Movement for Equality Versus the Ku Klux Klan (Tom Sigel & Pamela Yates)
Soldier Girls (Nick Broomfield & Joan Churchill) with The Last to Know (Bonnie Friedman)
Taxi Zum Klo (Frank Ripploh) with Friday and Clyde (Kerry L.B. Feltham)
Tighten Your Belts, Bite the Bullet (James Gaffney & Martin Lucas & Jonathan Miller)
Trances (Ahmed El Manouni) with Overseas (Jacques Fieschi)
Vernon, Florida (Errol Morris) with Stations of the Elevated (Manfred Kirchheimer) and The Climate of New York (Edgar B. Howard)
We Were German Jews (Michael Blackwood)
The Witness (Peter Bacsó) with Egg City (David Kellogg)
The Woman Next Door (François Truffaut)

Read Max Nelson on Jacques Rivette’s Le Pont du Nord for Film Comment:

If all of Le Pont du Nord’s games, rules, and neuroses point back to a single theme, it is the fear of death, and the possibility (or impossibility) of cheating it. It’s difficult to say more than that, because for everything you could say about Rivette’s attitude towards mortality, the opposite would likely be just as true. Death is the chief subject of comedy, and at the same time the tragedy for which all comedy exists to compensate; it’s something at once unspeakably awful and unspeakably trivial, unimaginable even as it serves as the basis for all other imaginings.

Read Jonathan Romney on Chan Is Missing for Film Comment:

It’s hard to think of anything as susceptible to the effects of time and social change as identity politics. So you certainly couldn’t call Wayne Wang’s Chan Is Missing an authoritative, timeless picture of what it means to be Chinese-American. It wouldn’t even be true to say it was a representative depiction of what it meant to be Chinese-American in 1982, when the film was made; rather, it ponders a range of possible identities within different social backgrounds and age groups in the San Francisco area, and that’s probably about as specific a description of the film as you can accurately attempt. Even so, Chan Is Missing—generally considered the first Asian-American fiction film to make an impression with mainstream audiences—remains not just a ground-breaking film, but also a witty, intelligent, mischievous attempt to mix identity politics (of an inquisitive, skeptical sort), social documentary, and genre parody. Thirty-four years on, it still looks brazenly inventive and bracingly fresh.

Veronika Voss (Rainer Werner Fassbinder) with Pianissimo (Carmen D’Avino) (Opening Night)
Fitzcarraldo (Werner Herzog) (Closing Night)
Another Way (Károly Makk)
Arshile Gorky (Charlotte Zwerin) with Letter to Freddy Buache (Jean-Luc Godard) and Before the Nickelodeon (Charles Musser)
The Burning Brazier (Ivan Mozhukhin)
City Lovers (Barney Simon) with Coming of Age (Josh Hanig)
Dark Circle (Chris Beaver) with For the Next Sixty Seconds (John Penhall) and Science Fiction (J.J. Murphy)
The Draughtsman’s Contract (Peter Greenaway) with Shift (Ernie Gehr)
Eating Raoul (Paul Bartel) with Louise Smells a Rat (Anne Flournoy)
Identification of a Women (Michelangelo Antonioni)
Koyaanisqatsi (Godfrey Reggio)
Letter from Siberia (Chris Marker) with Description of a Struggle (Chris Marker) (Retrospective selections)
The Light Ahead (Edgar G. Ulmer) (Retrospective selection) with Ted Baryluk’s Grocery (Mike Mirus and John Paskievich)
Little People (Jan Krawitz & Thomas Ott) with Up (Robert Kukes)
Little Wars (Maroun Baghdadi)
Madam Satan (Cecil B. DeMille) (Retrospective selection)
Moonlighting (Jerzy Skolimowski) with Swiss Army Knife with Rats and Pigeons (Robert Breer)
The Night of the Shooting Stars (Paolo & Vittorio Taviani)
One Man’s War (Edgardo Cozarinsky) with Three Postcards from Saigon (Edgardo Cozarinsky)
Say Amen, Somebody (George T. Nierenberg) with Remembering Thelma (Kathe Sandler)
The Stationmaster’s Wife (Rainer Werner Fassbinder)
Tex (Tim Hunter) with Zea (André and Jean-Jacques Leduc)
Time Stands Still (Péter Gothár) with Miami Is OK (Steven S. Weiss)
La Truite (Joseph Losey) with Delivery Man (Emily Hubley)
The Tyrant’s Heart (Miklós Jancsó)
Vortex (Scott B & Beth B) with Wild Night in El Reno (George Kuchar) and Harmful or Fatal if Swallowed (Manuel De Landa)
Yol (Yelmaz Guney)

Read Elliott Stein’s wrap-up of the 20th New York Film Festival for Film Comment‘s November-December 1982 issue:

La Truite/The Trout, Joseph Losey’s best film in a decade, is a plum pudding for auteurists. Sexual ambivalence, elaborate settings and camera work, game-playing, the corruption of the bourgeoisie, the intrusion of an outsider upon a social body, you name it—there are the Loseyan leitmotifs in abundance. More important, The Trout was the most enjoyable film on view at Lincoln Center this year.

The Big Chill (Lawrence Kasdan) (Opening Night)
Streamers (Robert Altman) (Closing Night)
L’Argent (Robert Bresson) with Trial Balloons (Robert Breer) and En rachâchant (Jean-Marie Straub and Danièle Huillet)
Boat People (Ann Hui)
Danton (Andrzej Wajda)
Entre Nous (Diane Kurys)
Erendira (Ruy Guerra)
Forbidden Relations (Zsolt Kézdi-Kovács) with Lady Tree (Howard Danelowitz)
Les années 80 (Chantal Akerman) with Camilla Horn Watching Herself Play Gretchen in Murnau’s Silent Film “Faust” (Hedda Rinneberg and Hans Sachs)
Heart Like a Wheel (Jonathan Kaplan)
In the White City (Alain Tanner)
Last Night at the Alamo (Eagle Pennell) with Sifted Evidence (Patricia Gruben)
Life Is a Bed of Roses (Alain Resnais)
Lost Illusions (Gyula Gazdag) with Sundae in New York (James Picker)
The New Babylon (Grigori Kozintsev & Leonid Trauberg) (Retrospective selection)
Nostalghia (Andrei Tarkovsky)
Passion (Jean-Luc Godard) with You the Better (Ericka Beckman)
Rear Window (Alfred Hitchcock) (Retrospective selection)
Red Love (Rosa von Praunheim) with The Woman and the Dress (George Kuchar)
Rumble Fish (Francis Ford Coppola)
Seeing Red (Julia Reichert & James Klein)
La Signora di Tutti (Max Ophuls) (Retrospective selection)
So Far from India (Mira Nair) with Dhrupad (Mani Kaul)
The Story of Piera (Marco Ferreri)
Vietnam: The Secret Agent (Jacki Ochs) with Burroughs (Howard Brookner)
The Wind (Souleymane Cissé) with Reassemblage (Trinh T. Minh-ha)

Country (Richard Pearce) (Opening Night)
Paris, Texas (Wim Wenders) (Closing Night)
America and Lewis Hine (Nina Rosenblum)
À nos amours (Maurice Pialat)
Blood Simple (Joel & Ethan Coen)
Becky Sharp (Rouben Mamoulian) (Retrospective selection)
Cammina Cammina (Ermanno Olmi)
Class Relations (Jean-Marie Straub & Danièle Huillet)
Diary for My Children (Márta Meszáros)
A Flash of Green (Victor Nuñez)
A Hill on the Dark Side of the Moon (Lennart Hjulström)
The Holy Innocents (Mario Camus) with The Bewitching (John Petrizzelli)
Los Sures (Diego Echeverria)
A Love in Germany (Andrzej Wajda) with Pies (Sheldon Cohen)
Love on the Ground (Jacques Rivette)
Man of Flowers (Paul Cox) with Boxing Booth (Adrin Neatrour)
Memoirs of Prison (Nelson Pereira dos Santos)
Once Upon a Time in America (Sergio Leone)
Shivers (Wojciech Marczewski) with Urban Update (Edward Hoch)
Stranger Than Paradise (Jim Jarmusch) with New Frontier (Annabel Jankel and Rocky Morton)
Strikebound (Richard Lowenstein) with How Far Home: Veterans After Vietnam (Bestor Cram)
A Sunday in the Country (Bertrand Tavernier) with Pleasure of Love (Annabel Jankel and Rocky Morton)
Three Crowns of the Sailor (Raúl Ruiz)
The Times of Harvey Milk (Robert Epstein & Richard Schmiechen)
Tokyo Olympiad (Kon Ichikawa) (Retrospective selection)
Two English Girls (François Truffaut) (Retrospective selection)

Jim Jarmusch discusses Stranger Than Paradise with Film Comment‘s Harlan Jacobson in the January-February 1985 issue:

I have a lot of influences. Anything that moves me influences me somehow. I take from European and Japanese films and also from America: The characters are really American. There’s something very American about the film and yet formally, it’s not traditional at all, it’s very untraditional. That comes from the way I write, which is backwards: Rather than finding a story that I want to tell and then adding the details, I collect the details and then try to construct a puzzle or story. I have a theme and a kind of mood and the characters but not a plotline that runs straight through. I think that’s partly why the narrative takes the form that it does. My first film (Permanent Vacation) was similar—and the two things that I am writing now I’m writing in the same way.

Federico Fellini in 1985. Photo by Federico Diaz.

Read Federico Fellini’s interview with Film Comment‘s Gideon Bachmann from the May-June 1985 issue:

The stories are born in my memories, my dreams, in what I imagine and fantasize; it’s a very natural and spontaneous birth. I don’t specifically sit down to invent something. It’s a series of suggestions of the mind, thinking about things read, personal experiences lived, coming together with a pretext of some sort, a stimulus of the moment, such as the face of a man in the subway, the smell of a waft of perfume that passes, a sound I hear—something that evokes those fantasies and persons and situations that I have in me, and which almost by themselves organize into a form, provided I give them freedom and follow them on their path. It’s a matter of staying with them for a while, of making friends with them.

Ran (Akira Kurosawa) (Opening Night)
Kaos (Paolo & Vittorio Taviani) (Closing Night)
28 Up (Michael Apted) and Seven Up! (Paul Almond) (Retrospective selection)
Angry Harvest (Agnieszka Holland)
Black Narcissus (Michael Powell & Emeric Pressburger) (Retrospective selection)
Bliss (Ray Lawrence)
Boy Meets Girl (Leos Carax)
Chain Letters (Mark Rappaport) with Standard Gauge (Morgan Fisher)
City of Pirates (Raúl Ruiz)
Colonel Redl (István Szabó)
Les Temps Détruit (Pierre Beuchot)
Hail Mary (Jean-Luc Godard)
Harvest of Despair (Slavko Nowytski)
Himatsuri (Mitsuo Yanagimachi)
Huey Long (Ken Burns)
No Man’s Land (Alain Tanner)
Nothing Sacred (William Wellman) (Retrospective selection) with Manhole Covers (Ruth Cade)
Oriana (Fina Torres) with Shapes, Forms and Robots (Cathy Karol)
Private Conversations (Christian Blackwood) with Destrux: Bring the Horror Home (Conrad Fink)
Renoir, the Boss (Jacques Rivette) with Jean Cocteau – Self-Portrait of a Man Unknown (Edgardo Cozarinsky)
The Satin Slipper (Manoel de Oliveira)
Steaming (Joseph Losey) with Traveling Light (Jane Aaron)
Sugarbaby (Percy Adlon) with Boomtown (Connie D’Antuon, Bill Plympton, and Valeria Vasilevski)
When Father Was Away on Business (Emir Kusturica)
A Year of the Quiet Sun (Krzysztof Zanussi)

Read Nick Davis on Claire Devers’s Noir et blanc, a 1986 ND/NF selection, for Film Comment:

Claire Devers’s steely, intrepid Noir et blanc shares several fascinations with early work by her countrywoman and near-namesake, Claire Denis. Some are thematic: pressurized masculinity, interracial tensions and fetishisms, and social relations tilting into violence. Formally, both women’s films linger on exposed skin and machinic musculature, slide easily into abstract montage, and exacerbate visual tensions with potent sounds from off-screen sources.

Down by Law (Jim Jarmusch) with Loose Corner (Anita Thacher) (Opening Night)
Peggy Sue Got Married (Francis Ford Coppola) (Closing Night)
The Blind Director (Alexander Kluge)
Cactus (Paul Cox) with Passionless Moments (Jane Campion and Gerard Lee)
Charlotte and Lulu (L’Effrontée) (Claude Miller)
Dancing in the Dark (Leon Marr) with My Socks (Martin Gressman)
The Decline of the American Empire (Denys Arcand)
Directed by William Wyler (Aviva Slesin) and Dodsworth (William Wyler) (Retrospective selection)
Isaac in America (Amram Nowak) and International Sweethearts of Rhythm (Greta Schiller & Andrea Weiss) with Set in Motion (Jane Aaron)
Malandro (Ruy Guerra) with Honky Tonk Bud (Scott Laster)
Marlene (Maximilian Schell) with A Girl’s Own Story (Jane Campion)
Ménage (Bertrand Blier) with Girls in Suits at Lunch (Ruth Charny)
No End (Krzysztof Kieslowski)
Police (Maurice Pialat)
Round Midnight (Bertrand Tavernier)
The Sacrifice (Andrei Tarkovsky)
Scene of the Crime (André Téchiné)
Sid and Nancy (Alex Cox)
Thérèse (Alain Cavalier)
A Time to Live and a Time to Die (Hou Hsiao-hsien)
To Sleep So as to Dream (Kaizo Hayashi) with Attack on a Bakery (Yamakawa Naoto)
True Stories (David Byrne) with Quest/A Long Ray’s Journey Into Light (Michael Sciulli and Melissa White)
The Wedding March (Erich von Stroheim) (Retrospective selection)
A Zed and Two Noughts (Peter Greenaway)

David Byrne discusses True Stories with Film Comment‘s Margaret Barton-Fumo:

Jonathan Demme was very much a cheerleader. He was very helpful. His producer at the time, Gary Goetzman, was super supportive during the developing process. And Jonathan would look at what I was doing, and it was kind of outside of his wheelhouse, the things that I was doing, but he could offer really good advice.

Read Amy Taubin on Agnieszka Holland’s A Woman Alone, a ND/NF 1987 selection, for Film Comment:

In 1987, six years after Agnieszka Holland’s A Woman Alone had shown on the Western European and Canadian festival circuits, ND/NF gave New York audiences an opportunity to see the first of several masterpieces in what is now Holland’s prolific 40-plus-year career.

Dark Eyes (Nikita Mikhalkov) with The First 25 Years, a NYFF-anniversary short (Wendy Keys and Doug Wyles) (Opening Night)
House of Games (David Mamet) (Closing Night)
Anita – Dances of Vice (Rosa von Praunheim) with Imagine (Zbigniew Rybcyncki) and Academy Leader Variations (Various)
Anna (Yurek Bogayevicz) with When I Grow Too Old to Dream (Priscilla Olson)
Babette’s Feast (Gabriel Axel) with Fiddle-de-dee (Norman McLaren)
Barfly (Barbet Schroeder) with Arena Brains (Robert Longo)
The Belly of an Architect (Peter Greenaway) with Blinkity Blank (Norman McLaren) and Finger Wave (Gyula Nagy)
Boyfriends and Girlfriends (Eric Rohmer) with This Is Just to Say (Maureen Selwood)
Chuck Berry Hail! Hail! Rock ‘n’ Roll! (Taylor Hackford)
Diary for My Loved Ones (Márta Mészáros)
Fire from the Mountain (Deborah Shaffer) with El Centerfielder (Ramiro Lacayo Deshon)
Hope and Glory (John Boorman)
Horowitz Plays Mozart (Albert Maysles & Susan Froemke & Charlotte Zwerin) with Young at Heart (Sue Marx & Pam Conn)
Joan of Arc at the Stake (Roberto Rossellini) and The Human Voice (Jean Cocteau) (Retrospective selections)
The Manchurian Candidate (John Frankenheimer) (Retrospective selection)
Mauvais sang (Leos Carax)
Mélo (Alain Resnais) with Conrapunctus (Laura Companeitz)
A Month in the Country (Pat O’Connor) with Begone Dull Care (Norman McLaren)
Police Story (Jackie Chan) with Pas de deux (Norman McLaren)
Radium City (Carole Langer)
A Taxing Woman (Juzo Itami)
The Theme (Gleb Panfilov)
Under the Sun of Satan (Maurice Pialat) with Stars and Stripes (Norman McLaren)
Yeelen (Souleymane Cissé)

Read Dan Sullivan on Mauvais sang for Film Comment:

Concerned equally with gesture as confounded desire, Carax’s general sensibility is that of the excluded voyeur, a role he gives himself for his brief on-screen cameo (revisited with his pajama-clad turn in the prologue of Holy Motors). In Mauvais sang, everything is a product of sleight of hand—the film was almost entirely shot on a soundstage, thanks to a healthy advance on receipts from the Centre National du Cinéma—but it nevertheless resonates emotionally, carrying the distortions that come from looking from the outside in.

Women on the Verge of a Nervous Breakdown (Pedro Almodóvar) with Night of the Living Duck (Greg Ford and Terry Lennon) (Opening Night)
Red Sorghum (Zhang Yimou) with Words (Chuck Workman) (Closing Night)
36 Fillette (Catherine Breillat) with Elle et lui (François Margolin)
Ashik Kerib (Sergei Parajanov)
Asya’s Happiness (Andrei Konchalovsky) (Retrospective selection)
“Avant-Garde Voices”: I…Dreaming and Marilyn’s Window (Stan Brakhage) Lived in Quotes (Laurie Dunphy), Honor and Obey (Warren Sonbert), and Fake Fruit Factory (Chick Strand)
Bird (Clint Eastwood) with Koko (George Griffin)
Daughter of the Nile (Hou Hsiao-hsien) with Astronomy (Susan Rogers)
Distant Voices, Still Lives (Terence Davies) with The Short and the Curlies (Mike Leigh)
Felix (Christel Buschmann, Helke Sander, Helma Sanders-Brahms, and Margarethe von Trotta) with Chet’s Romance (Bertrand Fèvre)
Golub (Jerry Blumenthal & Gordon Quinn) and Falkenau, the Impossible (Emil Weiss)
Hard Times (João Botelho) with April 16th, 1989 (David Byrne)
High Hopes (Mike Leigh) with Treacle (Peter Chelsom)
Hotel Terminus: The Life and Times of Klaus Barbie (Marcel Ophuls)
Jacob (Mircea Daneliuc) with The Zip (Joann Kaplan)
The Last of England (Derek Jarman) with Cause and Effect (Mary Perillo and John Sanborn)
The Man with Three Coffins (Lee Jang-ho) with Souvenir (Adele Friedman)
Mapantsula (Oliver Schmitz) with Utter (Henion Han)
La Maschera (Fiorella Infascelli) with Sarah (Edgardo Cozarinsky)
The Onset of an Unknown Age (Andrei Smirnov and Larisa Shepitko) (Retrospective selection)
Opening Night (John Cassavetes) with Central Park in the Dark (Rudy Burckhardt and Christopher Sweet)
Pelle the Conqueror (Bille August) with Junior (Gus Van Sant)
Salaam Bombay! (Mira Nair)
A Winter Tan (Jackie Burroughs, Louise Clark, John Frizzell, John Walker & Aerlyn Weissman) with Ray’s Male Heterosexual Dance Hall (Bryan Gordon)

Too Beautiful for You (Bertrand Blier) with No More Disguises (Tom Sigel and Boryana Varbanov) (Opening Night)
Breaking In (Bill Forsyth) with Animated Self Portraits (Various) (Closing Night)
Ariel (Aki Kaurismäki) with London Suite (Vivienne Dick)
“Avant-Garde Visions”: Mercy (Abigail Child), Friendly Witness (Warren Sonbert), and Water and Power (Pat O’Neill)
Black Rain (Shohei Imamura)
A City of Sadness (Hou Hsiao-hsien) with Super Soap (Ah Da Ma Kexuan)
Confession: A Chronicle of Alienation (Georgi Gavrilov) with The Inspector (Artur Omar)
Current Events (Ralph Arlyck) and Dreams from China (Fred Marx)
Dancing for Mr. B: Six Balanchine Ballerinas (Anna Belle & Deborah Dickson) with This Time Around (Jane Aaron)
The Documentator (Istvan Darday & Gyorgyi Szalai)
Intolerance (D.W. Griffith) (Retrospective selection)
Life and Nothing But (Bertrand Tavernier) with Please Don’t Stop (Stephanie Maxwell)
Looking for Langston (Isaac Julien) and Book of Days (Meredith Monk) with Black-Eyed Susan (Portrait of an Actress) (Stuart Sherman)
The Mahabharata (Peter Brook)
Monsieur Hire (Patrice Leconte) with C’mon Babe (Sharon Sandusky)
My Left Foot (Jim Sheridan) with J.P. Somersaulter’s Dot to Dot Cartoon Cartoon (J.P. Somersaulter)
Mystery Train (Jim Jarmusch) with The Black Tower (John Smith)
Near Death (Frederick Wiseman)
The Plot Against Harry (Michael Roemer) with Pas a Deux (Monique Renault and Gerrit van Dijk)
Roger & Me (Michael Moore) with A Western (Laurie Dunphy)
A Short Film About Killing (Krzysztof Kieslowski) with The Mourner (Helen Dabrowski-Torres)
Speaking Parts (Atom Egoyan) with Under the Sea (Paul Glabicki)
Strapless (David Hare) with The Soulful Shack (John Roberts)
Sweetie (Jane Campion)
A Tale of the Wind (Joris Ivens & Marceline Loridan) with Rain (Joris Ivens)
Thelonious Monk: Straight, No Chaser (Charlotte Zwerin) with Ostensibly (Rudy Burckhardt)
Yaaba (Idrissa Ouedraogo) with Kakania (Karen Aqua)