Series December 14 - January 03, 2019

Jacques Tourneur, Fearmaker

The Film Society is pleased to present a wide-ranging retrospective of Tourneur’s body of work, the largest in New York City in decades.
New Release


South Korea's Best Foreign Language Film Oscar Entry · Critic's Pick at The New York Times

Korean master Lee Chang-dong’s expansion of Haruki Murakami’s short story “Barn Burning” is a love triangle (linked by rising star Steven Yeun) and a tense, haunting multiple-character study that bends the contours of the thriller genre to brilliant effect.

Directed by Lee Chang-dong

New Release

The House That Jack Built

Boundary-pushing cinematic visionary Lars von Trier (Antichrist) returns with one of his most daring, masterfully provocative works yet.

Directed by Lars von Trier

New Release Opens January 25, 2019

The Image Book

With Jean-Luc Godard’s The Image Book, all barriers between the artist, his art, and his audience have dissolved. Predominantly comprised of pre-existing images, many of which will be familiar from Godard’s previous work, this is a film in which the relationship between image and sound is, as always, intensely physical and sometimes jaw-dropping.

Directed by Jean-Luc Godard

New Release Opens March 01, 2019


A hollowed-out European refugee who has escaped from two concentration camps, arrives in Marseille assuming the identity of a dead novelist whose papers he is carrying in Christian Petzold’s brilliant and haunting film.

Directed by Christian Petzold

New Release Opens March 08, 2019

An Elephant Sitting Still

The late Hu Bo’s epic feature debut—a modern reworking of the tale of Jason and the Argonauts—is a masterpiece that will be remembered as a landmark in Chinese cinema.

Directed by Hu Bo

New Release Opens April 12, 2019

Long Day’s Journey Into Night

This noir-tinged film about a solitary man haunted by loss and regret is told in two parts: the first an achronological mosaic, the second a nocturnal dream. Bi Gan has created a film like nothing you’ve seen before, especially in the second half’s hour-long, gravity-defying 3D sequence shot.

Directed by Bi Gan

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