Three aging Vietnam-era Navy vets—soft-spoken Doc (Steve Carell), unhinged and unfiltered Sal (Bryan Cranston), and quietly measured Mueller (Laurence Fishburne)—reunite for the proper burial of Doc’s only child, who has been killed in the early days of the Iraq invasion. Richard Linklater’s lyrical road movie is as funny as it is heartbreaking.

Todd Haynes’s all-ages enchantment, adapted from a young-adult novel by Hugo author Brian Selznick, follows the parallel, ultimately converging journeys of two children, one set in 1927 and the other 1977. This is an intelligent, deeply personal, and lovingly intricate tribute to the power of obsession.

In Coney Island in the 1950s, a carousel operator (James Belushi) and his beleaguered wife (Kate Winslet), who eke out a living on the boardwalk, are visited by his estranged daughter (Juno Temple)—a situation from which layer upon layer of all-too-human complications develop. Woody Allen has created a bracing and truly surprising movie experience.

An advance crew of three aliens journey to Earth in preparation for a complete takeover of the planet in the latest from Kiyoshi Kurosawa, a throwback to 1980s sci-fi and a disturbing parable for our present moment.

Capturing with eloquence the confusion and longing of youth, Call Me by Your Name charts the slowly ripening romance between an American teen on the verge of discovering himself and the handsome older grad student his professor father has invited to their vacation home in Northern Italy.

Mistaken identity, repetition compulsion, and déjà vu figure into one of Hong Sang-soo’s most plaintive and philosophical works, shot in moody black and white and mostly set on a single eventful day in the life of a book publisher.

At age 88, Agnès Varda teamed up with the 33-year-old visual artist JR for this unassuming, Oscar-nominated masterpiece, a tour of rural France that celebrates artisanal production, workers’ solidarity, and the photographic arts in the face of mortality. An NYFF55 selection.

In Senegalese director Alain Gomis’s new film, a singer in a makeshift bar in Kinshasa goes in search of money for her son’s medical care after he is injured in an accident. Félicité is tough, and tender, funny and terrifying, both responsive to the moment and fixed on its heroine’s spiritual progress.

A six-year-old girl and her two best friends run wild on the grounds of a week-by-week motel complex on the edge of Orlando’s Disney World in Sean Baker’s depiction of childhood on the margins, a film of fierce energy, tenderness, and great beauty.

A filmmaker (Mathieu Amalric) in the throes of writing a spy thriller sees his life upended after the return of his wife Carlotta (Marion Cotillard), a fragile, Hitchcockian femme fatale, who disappeared twenty years earlier. Ismael’s Ghosts is about the process of creating a work of art and all the madness that requires.

Greta Gerwig’s directorial debut, a portrait of an artistically inclined teenage girl (Saoirse Ronan) trying to define herself in the shadow of her mother (Laurie Metcalf), is rich in invention and incident, and powered by Ronan, 23 years old and one of the finest actors in movies.

Juliette Binoche is both incandescent and emotionally raw in Claire Denis’s extraordinary new film as Isabelle, a middle-aged Parisian artist in search of definitive love. The action moves elliptically, as though set to some mysterious biorhythm, from one romantic/emotional attachment to another.

In Philippe Garrel’s poetic exploration of relationships, desire, and fidelity, Jeanne (Esther Garrel), after a painful breakup, moves back in with her university professor father to discover that he is living with a student who is the same age as Jeanne.

Noah Baumbach revisits the family terrain of The Squid and the Whale in this intricately plotted story of three middle-aged siblings (Adam Sandler, Ben Stiller, and Elizabeth Marvel) coping with their strong-willed father (Dustin Hoffman) and the flightiness of his wife (Emma Thompson).

Isabelle Huppert hypnotizes us again in Serge Bozon’s eccentric twist on Dr. Jekyll and Mr. Hyde, in which a timid and rather peculiar physics professor is struck by lightning and wakes up a decidedly different person, the newly powerful Mrs. Hyde.

Writer-director Dee Rees’s historical epic, based on the novel by Hillary Jordan, details the daily hardships and vicissitudes of farm life in Mississippi during the post–World War II era, focusing on two families, one white (the landlords) and one black (the sharecroppers), working the same miserable piece of farmland.

A badly injured former champion rodeo rider and horse trainer is forced to give up the life he knows and loves in this documentary-inflected fiction film set on South Dakota’s Pine Ridge Reservation, a work of exceptional compassion and truth.

A series of hunters die mysteriously in the wilderness on the Polish-Czech border, and part-time teacher and animal activist Janina wonders if the animals are taking revenge in this phantasmagorical murder mystery, which is also a tender love story and a resistance and rescue thriller.

In this fluid, sharply observant, and continually surprising film, an adolescent country girl (Eili Harboe), the daughter of a quietly domineering mother and father, begins to manifest a terrifying and uncontrollable power. Warning: This film contains flashing lights which may not be suitable for photosensitive epilepsy. Viewer discretion is advised.

Valeska Grisebach uses the Western as a template for her supremely intelligent genre update about an all-male group of German workers who are building a water facility in remote rural Bulgaria, and the conflict that arises between the reserved newbie and the boorish team leader.

Martel’s intoxicating adaptation of Antonio di Benedetto’s 1956 classic of Argentine literature follows an officer of the Spanish crown in late-18th-century Paraguay as he succumbs to lust and paranoia.

Rebecca Miller’s film, a portrait of her father, his times and insights, built around impromptu interviews shot over many years in the family home, is a celebration of the great American playwright different from what the public has ever seen.

Sara Driver’s documentary is both a celebration of and elegy for the downtown New York art/music/film/performance world of the late 1970s and early ’80s, through which Jean-Michel Basquiat shot like a rocket.

The first feature from Alison McAlpine is a dialogue with the heavens—in this case, the heavens above the Andes and the Atacama Desert in northern Chile, where she alights on the desert- and mountain-dwelling astronomers, fishermen, miners, and cowboys who live their lives with reverence and awe for the skies.

Filmmaker Travis Wilkerson turns his sights on his own family and the small town of Dothan, Alabama, where his white supremacist great-grandfather S.E. Branch once shot and killed Bill Spann, an African-American man.

In this lyrical and highly topical film, the Sonoran Desert, among the deadliest routes taken by those crossing from Mexico to the United States, is depicted a place of dramatic beauty and merciless danger.

Stanley Kubrick’s loyal, work-obsessed right-hand man Leon Vitali is chronicled in this fascinating portrait of awe-inspired devotion burning all the way down to the wick.

The great nonpartisan investigative reporter Edward Jay Epstein, still going strong at 81, takes us through his most notable articles and books, including close looks at the findings of the Warren Commission, the structure of the diamond industry, the strange career of Armand Hammer, and the inner workings of big-time journalism itself.

Filmmaker Brett Morgan has created a vibrant film experience utilizing recently rediscovered footage from the years in which Jane Goodall first established contact with the chimpanzee population in Gombe Stream National Park near Lake Tangyanika.

Griffin Dunne’s years-in-the-making documentary portrait of his aunt Joan Didion moves with the spirit of her uncannily lucid writing: the film simultaneously expands and zeroes in, covering a vast stretch of turbulent cultural history with elegance and candor.

Oscar-winning Investigative documentary filmmaker Alex Gibney turns his sights on the 1994 Loughinisland massacre, a cold case that remains an open wound in the Irish peace process.

Abel Ferrara’s new documentary is a vivid mosaic/portrait of Rome’s biggest public square, Piazza Vittorio, featuring talks with African musicians and restaurant workers, Chinese barkeeps and relocated eastern Europeans, homeless men and women, artists, actors, and many others.

This passionate documentary shines a light on a case that became a turning point in the early Civil Rights Movement: in 1944, a young African-American mother from Abbeville, Alabama, bravely spoke up and pressed charges against the seven white men who abducted and raped her.

Vanessa Redgrave’s debut as a documentary film director is a plea for a western response to the world’s refugee crisis based on the international human rights laws signed and ratified after World War II.

Studiously observing the world of male bodybuilding, Denis Côté crafts a multifaceted portrait of six latter-day Adonises through the lens of their everyday lives: extreme diets, training regimens, family relationships, and friendships within the community.

Each year at the University of Saint-Denis in the suburbs of Paris, the Eloquentia competition determines the best orator in the class. Speak Up follows the students, who come from a variety of family backgrounds and academic disciplines, as they prepare.

Barbet Schroder’s portrait of an Islamophobic Burmese monk who has led hundreds of thousands of his Buddhist followers in a hate-fueled, violent campaign of ethnic cleansing is revelatory and horrifying.

This documentary chronicles the relationship between veteran New York journalist Gay Talese and the enigmatic subject of his controversial book The Voyeur’s Motel, Gerald Foos, who bought a motel in Colorado in the 1960s, and furnished the rooms with louvered vents that allowed him to spy on his guests.

These three movies from Mathieu Amalric are musicals, from the inside out: they move with the mental and physical energies of the wildly prolific John Zorn, and the great Canadian-born soprano/conductor/champion of modern classical music Barbara Hannigan.

The latest by the makers of Leviathan is a harrowing engagement with the sheer presence of a man who did the unthinkable: Issei Sagawa, who became a tabloid magnet after killing and cannibalizing a woman in Paris in 1981.

Chinese visual artist Xu Bing’s ambitious debut feature follows an ill-fated romance through a frightening and faceless urban environment, using only closed-circuit surveillance footage.

A lovingly constructed biographical essay about the life and work of a highly influential, yet little-known, Canadian composer and microcomputer pioneer, paired with a portrait of Swiss-Austrian artists Vivian Suter and Elisabeth Wild, who live in a garden villa deep in the Guatemalan Highlands. Preceded by a new film by Rosalind Nashashibi.

In this shape-shifting hybrid feature, Algerian citizens’ memories of their country’s occupation are brought to life via resurrected military reports and re-enactments of France’s decades-long colonial project.

Ben Russell takes us deep into the unforgiving copper mines of Serbia. When we emerge, we’re thousands of miles away, amongst an illegal band of gold miners in the Suriname jungle.

In a boho Parisian hotel, two sexually and politically ambiguous Italians romp through a succession of blatantly artificial set pieces, stoking the prejudices of staff members and fellow guests, while outside riots rage and protesters march.

Election Day, 2016. Kevin Jerome Everson and his 16mm camera quietly observe a community of mostly African-American voters and volunteers at a local polling precinct in Charlottesville, Virginia.

Monumental views of the Incheon Sea, the Balearic island of Menorca, and the Sonoran Desert serve to visualize the infinitesimal stature of the human race in Zhou Tao’s film. Showing on loop in the EBM Amphitheater.

Experimental cinema pioneer Barbara Hammer has spent much of her five-decade career deconstructing gender and sexuality through material examinations of the celluloid image and representations of the female body onscreen. Features five films, all 16mm.

One of the first independent African-American artists to make inroads into experimental filmmaking in the 1960s, San Francisco’s Mike Henderson makes work that thrums with a sociopolitical, humorous sensibility. Features eight films from the ’70s and ’80s, all 16mm.

Benjamin Crotty and Bertrand Dezoteux’s Division Movement to Vungtau, Jesse McLean’s Wherever You Go, There We Are, Kevin Jerome Everson’s IFO, Pia Borg’s Silica, and Jorge Jácome’s Flores.

Peter Burr’s Pattern Language, G. Anthony Svatek’s .TV, Belit Sağ’s disruption, Sky Hopinka’s Dislocation Blues, and Lawrence Abu Hamdan’s Rubber Coated Steel

Jonathan Schwartz’s The Crack-Up, Alexandre Larose’s Saint Bathans Repetitions, Nazli Dinçel’s Shape of a Surface, Jodie Mack’s Wasteland no. 1: Ardent, Verdant, and Takashi Makino’s On Generation and Corruption

Sara Magenheimer’s Art and Theft, Jaakko Pallasvuo’s Filter, Steve Reinke’s Semen Is the Piss of Dreams, Wojciech Bąkowski’s Year, and Charlotte Prodger’s BRIDGIT

Ayo Akingbade’s Tower XYZ, Fern Silva’s Ride Like Lightning, Crash Like Thunder, Ephraim Asili’s Fluid Frontiers, Michael Robinson’s Onward Lossless Follows, and Luis López Carrasco’s Aliens

Marta Mateus’s Barbs, Wastelands, Dane Komljen’s Fantasy Sentences, Olivia Ciummo’s Missing In-Between the Physical Proper, and Duncan Campbell’s The Welfare of Tomás Ó Hallissy

Jean Vigo’s legendary last film is about a barge captain (Jean Dasté) and his new bride (Dita Parlo), who begin their turbulent marriage aboard his riverboat accompanied by an eccentric first mate (Michel Simon).

Roger Duchesne is a thief with a code of honor who envisions and executes a perfect plan to rob the casino in Deauville in this crime classic that marks the real beginning of what we have now come to think of as Melville’s world.

Cape Verde’s colonial histories and displaced emigrants have been central to many of Pedro Costa’s films, but his rarely seen second feature is the only one thus far to have been shot on the archipelago.

A publishing company’s members form a collective after its charming and thoroughly evil owner (Jules Berry) disappears in the dead of night in Jean Renoir and writer Jacques Prévert’s beautiful film.

Often overlooked, Hou Hsiao-hsien’s fascinating portrayal of the anomie felt by Taiwanese youth of the mid-1980s came between the period pieces that established the director on his home ground and around the world.

This spare, elemental, devastating film about two damaged souls trying to build a life together as her child is taken away is a deeply autobiographical work by the great Philippe Garrel.

On a French network TV commission, Godard created this Série noire anthology episode, a funny, melancholy video piece about a director (Jean-Pierre Léaud) and producer (Jean-Pierre Mocky) trying to make a movie out of James Hadley Chase’s 1964 novel The Soft Centre.

Two madly impulsive young men are in love with the same woman, who happens to be played by two different actresses, in this semi-slapstick vision of true love inspired as much by Hollywood comedies and romances of the silent era as by the French New Wave.

A key work of Cuban cinema, the first feature from director Humberto Solás is a trio of stories about women named Lucía, each in a different register; a vivid visual experience, shot in glorious black and white.

James Whale gave a comic spin to J. B. Priestley’s 1927 gothic novel Benighted, cast from the mold of Edgar Allan Poe’s “The Fall of the House of Usher,” in this horror classic, bringing the film closer in spirit to the director’s later Bride of Frankenstein.

Varda’s feminist musical—with lyrics by the director—concerns the bond of sisterhood felt by Pomme (Valérie Mairesse) and Suzanne (Thérèse Liotard) throughout years of changes and fraught relationships with men. Opening Night of NYFF15.

This astonishingly beautiful black-and-white silent film was shot in the Black Forest of Germany with a cast of three (Bernadette Lafont, Laurent Terzieff, and Stanislas Robiolle), and is a primal response to the events of May ’68 as they were still unfolding.

The story of a family’s quiet endurance as it is split up and its members are sold into slavery and prostitution in 11th-century Japan is one of the greatest of Kenji Mizoguchi’s films and one of the greatest works of the cinema.

Mizoguchi’s adaptation of Chikamatsu Monzaemon’s 17th-century jōruri play about an apprentice scroll-maker who runs away with his master’s young wife is, like Sansho the Bailiff and Ugetsu before them, a film of extraordinary beauty and force.

In Preminger’s seminal noir, Mitchum plays an ambulance driver caught up in the machinations of a femme fatale (Jean Simmons); after becoming her chauffeur and lover, can he extricate himself from her devious schemes before it’s too late?

Wise’s synthesis of western and film noir was a breakthrough for the director and further solidified Robert Mitchum as one of Hollywood’s most intriguing leading men, here playing a conflicted cowboy caught up in a plot against an aging cattle owner.

Mitchum channeled the menace and malice of his Night of the Hunter villain as unhinged ex-con Max Cady, fresh out of jail and seeking revenge against lawyer Sam Bowden (Gregory Peck) and his family, in J. Lee Thompson’s influential, Bernard Herrmann-scored thriller.

Mitchum cameos as the local police lieutenant in Scorsese’s brute force update of J. Lee Thompson’s 1962 Southern thriller, which starred Mitchum as the iconic, original antagonist Max Cady.

This adaptation of Richard Brooks’s novel The Brick Foxhole, about a group of vets, led by Mitchum’s Sergeant Keeley, searching postwar Washington for their amnesiac friend so they can clear him of a murder charge, embodies the essence of what has come to be known as “film noir.”

Jim Jarmusch’s hypnotic, parable-like, revisionist Western doubles as a barbed reflection on America’s treatment of its indigenous people and a radical twist on the myths of the American West, expressed in no small part by Robby Müller’s striking black-and-white cinematography.

The first of Howard Hawks’s two variations on his own Rio Bravo finds Mitchum playing a hard-drinking sheriff who teams up with an old friend (hired gun John Wayne) to protect a wealthy rancher (Ed Asner) and his family from the threatening advances of another rancher’s fearsome gang.

In the first half of the 1970s, Robert Mitchum reached a new peak, the end of which came with this sepulchrally nostalgic, neon-lit adaptation of Raymond Chandler’s second Philip Marlowe novel.

Peter Yates’s adaptation of George V. Higgins’s novel about the tribulations of an aging gunrunner in working-class Boston arguably finds Mitchum at his career-best, conjuring a pitch-perfect blend of melancholy, spiritual exhaustion, and cloaked malevolence.

In one of his best films, Mitchum plays a down-on-his-luck gambler who takes a mysterious gig that brings him to an exclusive Baja resort, where he meets up with a colorful crew of characters, including a beautiful woman (Jane Russell) and her movie star boyfriend (Vincent Price).

Vincente Minnelli’s widescreen color melodramas for MGM are all very special, and this adaptation of William Humphrey’s sprawling 1958 saga of an overpowering Texas landowner (Mitchum) and his family is one of the finest.

“The kind of love I have for the film,” said Nicholas Ray of The Lusty Men, “is not as a filmmaker adoring a child, it’s as a part of the literature of America.” Set in the punishing, rootless world of the rodeo circuit, this is one of Ray’s very best films, and Robert Mitchum’s Jeff McCloud is its sad, busted, but still beating heart.

Mitchum stars as an American runaway tasked with capturing a crime lord as he woos a singer played by Jane Russell in this atmospheric crime yarn known for its unpleasant, tumultuous production.

In the late 1990s, the great photographer and filmmaker Bruce Weber managed to convince Robert Mitchum to appear before his camera for a filmed portrait. Weber shot Mitchum in 35mm black and white, hanging with friends and cronies in restaurants and hotel rooms and singing before a microphone in a studio recording standards for a projected album.

An expressionist, southern gothic noir, The Night of the Hunter tracks the devious exploits of self-styled reverend and serial killer Harry Powell (Mitchum) as he gets out of jail and sets out to wed the widow of his deceased cellmate and murder her for her hidden fortune.

Tourneur’s landmark noir boasts one of Robert Mitchum’s most iconic roles and is singularly rich with twists, turns, and profound ideas concerning the complex relationship between the past, the present, and fate.

Walsh’s powerful, very dark and Freudian film noir/western hybrid—a favorite of Martin Scorsese—stars Mitchum as Jeb, the only survivor of a brutal massacre that wiped out the rest of his family when he was a boy. Now an adult, Jeb yearns to untangle the messy, suppressed memories of his childhood trauma.

In this CinemaScope western adventure, Mitchum is an ex-con farmer who, along with his young son and a gambler’s abandoned fiancée (Marilyn Monroe), must make a perilous trip downriver with hostile Indians in hot pursuit.

Mitchum’s extraordinary performance as the stoic, exhausted, and quietly beleaguered Lieutenant Walker in this adaptation of correspondent Ernie Pyle’s dispatches from World War II made him a star.

This lovely, eloquently simple film about returning WWII vets (Robert Mitchum and Guy Madison) and their difficulties adjusting to the homefront was made and released by RKO to get the jump on The Best Years of Our Lives.

This tale of moonshine runners in the hills of Tennessee and Kentucky was the most personal project of Robert Mitchum’s entire career—in addition to starring, he produced and co-wrote it.

Mitchum reunited with Story of G.I. Joe director William Wellman for a movie about a homesteading family in snow country whose livestock is being destroyed by a roaming mountain lion. Shot on location at Mt. Rainier, where 30-foot snowdrifts made for the most arduous and exhausting shoot of Mitchum’s career.

In this haunting, noirish, paranoiac thriller, Katharine Hepburn grows increasingly obsessed with learning the dark truth about what really happened to the brother (Robert Mitchum) of her handsome and wealthy husband (Robert Taylor).

In this elegiac and exquisitely shot Technicolor western, Mitchum richly incarnates an expat mercenary hired by a Mexican governor to carry out an arms deal that takes him to Texas, where he soon finds himself in conflict with a U.S. Army major—and at a moral crossroads.

East meets West in the form of two iconic stars in Sydney Pollack’s Americanized take on the Yakuza movie, teaming Japanese gangster film star Ken Takakura with Mitchum in a thriller set in Tokyo. Print courtesy of the Academy Film Archive.

Showcasing both established and emerging filmmakers, this program features six unique films from around the world.

This is the third annual edition of a program focusing on the best in new horror, thriller, sci-fi, pitch-black comedy, twisted noir, and fantasy shorts from around the world.

This program, now in its third year, showcases work from some of the most exciting filmmakers living and working in New York today, including established names and ones to watch.

For its second year, NYFF showcases films from around the world that capture the versatility and depth of short nonfiction.

The team at Dark Corner Studios have made a name for themselves on 360 degree virtual reality film projects that explore the boundaries of horror cinema by placing audiences in the center of thrilling—and often terrifying—scenarios.

Directed by Academy Award-winning filmmaker Sharmeen Obaid-Chinoy and presented by WITHIN, this documentary series follows extraordinary people in Pakistan actively working to change their communities through causes they care deeply about.

From the depths of earth’s oceans to galaxies far, far away, VR allows us to be anyone, go anywhere, and see anything. Lucasfilm and its visual effects division, Industrial Light & Magic, have harnessed the power of this medium to create a new Virtual Production toolset, allowing filmmakers to build and scout a virtual set, manipulate props, puppeteer characters and vehicles, even compose shots to create virtual storyboards.

Finnish visual artists Fthr and Lintu specialize in creating surreal worlds in real time while interacting with the audience. Using custom software (Vizor Patches) and a variety of materials, they guide you through a trip that starts from nothing and ends in a living, breathing virtual world.

In Loften and Vaughan-Lee’s piece, the story that we’re asked to experience is that of silence itself, as told through the unique perspective of acoustic ecologist Gordon Hempton.

The brainchild of Tender Claws, the collective behind PRY (2015), Virtual Virtual Reality ponders humanity’s purpose in a future where our jobs have been co-opted by machines. Will we be little more than relics, reminders…even pets?

With Augmented Reality, which superimposes images, video, and other content onto our flesh and bone world, the line between the virtual and the real can blur to the point of being indistinguishable—with little more than a cell phone.

Full Motion Video games are making a comeback as creators breathe new life into this 35-year-old form. The 2017 edition of Gamescape celebrates some of the best new FMV work and looks back on titles both famous and infamous from the golden age of the arcade.

A collaboration with SAFELab, the De-Escalation Room aims to create an immersive storytelling space that reckons with the negative behaviors of social media, forcing its players to work together to defuse an otherwise dangerous situation.