The Duchess of Marlborough (Rachel Weisz), and her servant (Emma Stone) engage in a sexually charged fight to the death for the body and soul of Queen Anne (Olivia Colman) at the height of the War of the Spanish Succession in Yorgos Lanthimos’s wildly intricate and very darkly funny new film.

In Mexico City in the early ’70s, a middle-class family’s center is quietly and unassumingly held by its beloved live-in nanny and housekeeper (Yalitza Aparicio). Alfonso Cuarón tells an epic, autobiographical story of everyday life while also gently sweeping us into a vast cinematic experience.

Julian Schnabel’s ravishingly tactile and luminous new film takes a fresh look at the last days of Vincent van Gogh (played by Willem Dafoe, in a shattering performance) and in the process revivifies our sense of the artist as a living, feeling human being.

In Iranian director Jafar Panahi’s fourth completed feature since he was officially banned from filmmaking, a young woman appears to take her own life on cell-phone camera. The recipient of the video and Panahi, playing himself, investigate, and from there, 3 Faces builds in narrative, thematic, and visual intricacy.

Hamaguchi followed up his five-hour-plus Happy Hour with this beguiling and mysterious film that traces the trajectory of a love—or, to be accurate, two loves—found, lost, displaced, and regained.

Jia Zhangke’s extraordinary gangster melodrama begins by following Qiao (a never better Zhao Tao) and her mobster boyfriend Bin as they stake out their turf against rivals and upstarts in 2001 Datong before expanding out into an epic, three-part narrative of how abstract forces shape individual lives.

Here’s something new from the Coen Brothers—a wildly entertaining anthology of short films based on a fictional book of “western tales”—starring Tim Blake Nelson, James Franco, Liam Neeson, Tom Waits, Zoe Kazan, Tyne Daly, Brendan Gleeson, and others—unified by the thematic thread of mortality.

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.

Academy Award–winner Paweł Pawlikowski follows up his box-office sensation Ida with this bittersweet, exquisitely crafted tale of a tempestuous love between a pianist and a singer as they navigate the realities of living in both Poland and Paris, in and outside of the Iron Curtain.

Co-written with the legendary Jean-Claude Carrière, the sophomore feature from actor-director Louis Garrel is at once a beguiling bedroom farce and a slippery inquiry into truth, subjectivity, and the elusive nature of romantic attraction.

Exiled Chinese director Ying Liang’s return to feature filmmaking is a characteristically precise drama following a Hong Kong–exiled director (Gong Zhe) as she travels to a film festival in Taiwan with her husband and toddler and must avoid attracting attention. It’s a powerful work of autobiography and an empathetic snapshot of a mother-daughter relationship.

A decade in the making, Argentinian filmmaker Mariano Llinás’s La Flor is a labor of love and madness that redefines the concept of binge viewing, shape-shifting from a B-movie to a musical to a spy thriller to a category-defying metafiction to a remake of a very well-known French classic and, finally, to an enigmatic period piece.

Sitting in a café, typing on a laptop, Areum (Kim Min-hee) eavesdrops on three dramatic situations unfolding in her general vicinity. These create the narrative structure of Korean master Hong Sangsoo’s complexly episodic, deceptively simple film, which is filled with raw emotions.

A throng of tobacco farmers working on an estate live in a state of extreme deprivation, but nothing is what it seems in Alice Rohrwacher’s transfiguring and transfixing fable, which touches on perennial class struggle and enters the realm of parable.

In a powerhouse performance, Elisabeth Moss is Becky Something, the influential lead singer of a popular ’90s alt-rock outfit spiraling out of control as she struggles with her demons. The latest from Alex Ross Perry tracks Becky’s self-destruction—and potential creative redemption.

Claire Denis’s latest film—which features some of the most unsettling passages she has ever directed, as well as moments of the greatest delicacy and tenderness—is set aboard a spacecraft piloted by death row prisoners on a decades-long suicide mission to enter and harness the power of a black hole.

Two tales overlap and intersect at a riverside hotel in Hong Sangsoo’s affecting examination of family, mortality, and the ways in which we attempt to heal wounds old and fresh.

Barry Jenkins’s follow-up to his Oscar-winning Moonlight is a carefully wrought adaptation of James Baldwin’s penultimate novel, set in Harlem in the early 1970s. Jenkins’s deeply soulful film stays focused on the emotional currents between parents and children, couples and friends.

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.

Sad-sack, 40ish TV cameraman Armin awakens one morning to find the world around him entirely depopulated. Ulrich Köhler takes a disarmingly realistic and restrained approach to a fantastical premise: the eternally popular fantasy of the last man on earth.

Bi Gan’s sophomore film is this noir-tinged film about a solitary man (Huang Jue) haunted by loss and regret. Long Day’s Journey Into Night is like nothing you’ve seen before, especially in the second half’s hour-long, gravity-defying 3-D sequence shot. An NYFF56 selection. A Kino Lorber release.

Every new film from Frederick Wiseman, now 88 years old, seems more vigorous and acute than the last. In this tough, piercing look at the rhythm and texture of life as it is lived in a wide swathe of this country, he documents a small town located deep in the American heartland.

Set within the world of publishing, Olivier Assayas’s new film finds two hopelessly intertwined couples—including Guillaume Canet’s troubled book executive and Juliette Binoche’s weary actress—obsessed with the state of things, and how (or when) it will (or might) change. An NYFF56 selection. A Sundance Selects release.

Kathryn Hahn and Paul Giamatti are achingly real as Rachel and Richard, a middle-aged New York couple caught in the desperation, frustration, and exhaustion of trying to have a child. Tamara Jenkins’s first film in ten years is by turns hilarious and harrowing.

Not a second of this electrifying debut doesn’t feel 100% rooted in personal experience. English photographer and visual artist Richard Billingham’s film is grounded in the visual and emotional textures of his family portraits, particularly those of his deeply dysfunctional parents.

Hirokazu Kore-eda’s Cannes Palme d’Or winner is a heartrending, profoundly human portrait of a most unusual “family”: a collection of societal cast-offs united by petty crime and a fierce love for one another. An NYFF56 selection. A Magnolia Pictures release.

An intimate chronicle of a romance and a sprawling portrait of gay life in early 1990s France, Sorry Angel follows the intertwining journeys of a worldly, HIV-positive Parisian writer confronting his own mortality, and a curious, carefree university student just beginning to live.

The troubling realities of the adult world intrude on a girl’s teenage idyll in this dreamy drift through early 1990s Chile, a nostalgic and piercing portrait of a young woman—and a country—on the cusp of exhilarating and terrifying change. An NYFF56 selection. A KimStim release.

Franz Rogowski stars in Christian Petzold’s haunting film as a European refugee who has escaped from two concentration camps and assumes the identity of a dead novelist whose papers he is carrying.

In first-time director Paul Dano’s impressive debut, a carefully wrought adaptation of Richard Ford’s 1990 novel (co-written by Zoe Kazan), a family comes apart one loosely stitched seam at a time. Jake Gyllenhaal and Carey Mulligan star as the parents; Ed Oxenbould is the adolescent son trying to hold the center.

Errol Morris faces off with none other than Steve Bannon—former Goldman Sachs partner and movie executive, self-proclaimed “populist” warrior, and long-time cinephile—in this unflinching film.

School children grow up before our eyes into young adults in the shattered city of Kabul in the meticulously constructed new film from James Longley (Iraq in Fragments).

Ron Mann’s Carmine Street Guitars is a lovely portrait of a week in the life of luthier Rick Kelly’s eponymous ground floor shop.

Built primarily from color 16mm images shot in the spring of 1943 by director William Wyler and his crew on 8th Air Force bombing raids over Germany and strategic locations in occupied France, The Cold Blue is filtered through the spoken recollections of nine veterans.

Alexis Bloom’s scrupulous, methodically mounted documentary concerns Roger Ailes, the hemophiliac boy from Warren, Ohio, who worked his way up from television production to the Nixon White House to stewardship of the full-fledged right-wing propaganda machine Fox News.

87-year old Manny Kirchheimer’s astonishing Dream of a City is comprised of stunning black and white 16mm images of the city from 1958 to 1960.

Bruce and Wojtasik are tuned to a very special and extraordinarily delicate wavelength as artists, and their radiant film takes a respectful and serenely composed look at the very activity, the actual work, of dying for five individuals.

Tom Surgal’s film looks at the astonishing sounds (and sights) of that combustible and wildly diverse moment in music known as free jazz; it’s a fittingly wild and freeform tribute to music that makes your hair stand on end.

Tom Volf’s film about Maria Callas, one of the supreme artists and cultural stars of the mid-20th century, is a cinematic love note to a great artist, and a vivid audiovisual document of mid-century western culture.

Major William Wyler’s Memphis Belle, shot on 16mm from a B-17 bomber, is one of the greatest of the WWII combat documentaries, and it has now been meticulously and painstakingly restored.

Working with precious material, including a lengthy 1994 filmed interview with Cunningham and his subject’s earliest pre-New York Times photographs, Mark Bozek’s takes us on a lovely and invigorating journey into the world of the now legendary street photographer.

Ruth Beckermann exclusively uses archival footage to study how various media reported the events surrounding former Austrian president Kurt Waldheim’s political accession despite a controversy over his role in the Nazi regime during World War II.

Charles Ferguson reopens the case of Watergate, from the 1972 break-in to Nixon’s 1974 resignation and beyond, and gives it a new and bracing life, also drawing disquieting fact-based parallels with another presidency and criminal investigation, still underway.

Shot in very sharp black and white, Minervini’s follow-up to his Texas Trilogy is a portrait of African-Americans in New Orleans struggling to maintain their unique cultural identity and to find social justice.

This dazzlingly original feature from longtime collaborators Daniel Schmidt and Gabriel Abrantes about a chiseled fútbol star who flees the public eye is a perversely pleasurable sendup of Brexit, genetic science, and the ongoing refugee crises.

Composed of 65 beautifully framed shots of provincial life and suburban domesticity, Benning’s 16mm-shot travelogue of the Midwestern United States advanced notions of structuralist cinema while forming a visual tapestry of the American heartland in all its rugged glory.

A group of young intellectuals partake in playful rounds of academic sparring in Fendt’s second feature, an über-cinephilic treatise on language, literature, and theology.

American animator Jodie Mack’s first feature is a color-coordinated, rhythmically tuned fantasia for the senses. Filmed over five years and in as many countries, this all-analog travelogue finds thousands of textiles and printed designs dancing across locations from Mexico to Morocco to India.

Albert Serra’s follow-up to his magisterial The Death of Louis XIV is another forensic documentation of the Sun King’s final breaths. Featuring Lluís Serrat in a filmed performance of a 2017 installation, Roi Soleil boldly crossbreeds performance art and observational cinema.

García’s first feature explores the intersection of politics, psychoanalysis, and performance, nimbly interweaving narrative and nonfiction devices to arrive at something wholly distinct from either.

Comprised of a series of portrait shots of mostly anonymous individuals, Tsai Ming-liang’s latest digital experiment shrewdly deemphasizes language while reducing context to a bare minimum, and features a soundtrack by Ryuichi Sakamoto.

Whimsically examining issues of self-image, gender, and female sexuality, Beckman’s surrealist odysseys employ universal narrative threads as allegorical building blocks for ambitiously staged productions

Shaw’s vérité-style trilogy imagines a dystopian—and increasingly familiar—social order in which marginalized societies strive against extinction.

This program features A Return by James Edmonds, Valeria Street by Janie Geiser, Mahogany Too by Akosua Adoma Owusu, Between Relating and Use by Nazli Dinçel, Trees Down Here by Ben Rivers, Eye of a Needle by Katherin McInnis, and Wishing Well by Sylvia Schedelbauer.

This program features Key, washer, coin by Alan Segal, Words, Planets by Laida Lertxundi, Life After Love by Zachary Epcar, I Hope I’m Loud When I’m Dead by Beatrice Gibson, and The Air of the Earth in Your Lungs by Ross Meckfessel.

This program features Fainting Spells by Sky Hopinka, Chooka by Parastoo Anoushahpour, Faraz Anoushahpour, and Ryan Ferko, Ada Kaleh by Helena Wittmann, and The Labyrinth by Laura Huertas Millán.

This program features Mixed Signals by Courtney Stephens, Luminous Shadow by Mariana Caló and Francisco Queimadela, The Glass Note by Mary Helena Clark, and Walled Unwalled by Lawrence Abu Hamdan.

This program features Kodak by Andrew Norman Wilson and What Weakens the Flesh Is the Flesh Itself by Steve Reinke and James Richards.

Hundreds of feet in the air, a drone approaches a row of skyscrapers along Hong Kong’s affluent southern coast. The target: giant holes in the buildings’ facades kept clear for the passage of mythological dragons.

Part architectural film, part ASMR exercise, this observational study of Walter Gropius’s famed shoe warehouse, The Fagus Factory, is a meditation in every sense.

Edgar G. Ulmer’s 1945 Poverty Row classic turned its cheapness into an aesthetic asset and created a film experience that reeks of sweat, rust, and mildew; it has come to be regarded as the essence of film noir.

One of the most popular Mexican films ever made, this wildly passionate and visually beautiful love story follows the romance between between a revolutionary General (Pedro Armendariz) and the daughter of a nobleman (Maria Félix) during the Mexican revolution.

A wealthy woman returns to her home village, and offers the inhabitants a vast sum in exchange for the murder of the local man who seduced and abandoned her when she was young in Djibril Diop Mambéty’s freeform adaptation of Friedrich Dürrenmatt’s The Visit.

Mikhail Kalatozov’s wildly mobile, hallucinatory film went largely disregarded and almost unknown for nearly 30 years but is now renowned as a one-of-a-kind film experience, a visually mind-bending bolt from the historical blue.

Moscow, 1953: the Jewish purges are still on, and Stalin is on his deathbed. After trying to escape, a military surgeon is abducted and deposited at the heart of the enigma. Alexei Guerman’s deeply personal film is a work of solid and constant disorientation, masterfully orchestrated.

One of the first color films made in Italy, Ettore Giannini’s 1954 film version of his stage musical features an amazing roster of talent, including Ballets Russes principal dancer Léonide Massine (who also choreographed), the great comic actor Paolo Stoppa, and a young Sophia Loren.

Directed by Hungarian emigré André de Toth and written by Lester Cole, soon to become a member of the Hollywood Ten, this unflinching look at the rise of Nazism right before the end of the war was the first Hollywood film to address Nazi genocide.

This moody, visually potent film, directed by Delmer Daves and independently produced by star Edward G. Robinson with Sol Lesser, is something of an anomaly in late ’40s moviemaking, a piece of contemporary gothic Americana.

Made in coal-mining country in northeastern Ohio with local amateur actors, J.L. Anderson’s haunted Appalachian romance occupies a proud place alongside such similarly hand-crafted, off-the-grid American independent films as Carnival of Souls, The Exiles, Night of the Living Dead, and Wanda.

Ronald Neame’s adaptation of James Kennaway’s novel is a spare, dramatically potent war of nerves, about the power struggle between a tough lower-middle-class Scottish Major (Alec Guinness) and an aristocratic Colonel (John Mills) traumatized by captivity during the war.

Using carefully assembled archival and news footage and thoughtful interviews, this meticulously constructed film recounts the development of the movement against the American war in Vietnam on the Madison campus of the University of Wisconsin, from 1963 to 1970.

This program features Yalda Afsah’s Tourner, Martin DiCicco’s Here There Is No Earth, Hu Bo’s Man in the Well, Laura Huertas Millán’s jeny303, João Vladimiro’s Anteu.

This program features Sofia Bohdanowicz’s Veslemøy’s Song, Nicolás Zukerfeld’s Let Us Now Praise Movies, Benjamin Crotty’s Glorious Acceptance of Nicolas Chauvin, Joshua Tuthill’s Black Dog, and Zhengfan Yang’s Down There.

This program features Just Philippot’s Acid, Nicole Perlman’s The Slows, Danny Lee’s Toto, Phillip Montgomery’s Child of the Sky, Ilja Rautsi’s Helsinki Mansplaining Massacre.

This program features Eleanore Pienta’s Ada, Ashley Connor & Joe Stankus’s The Chore, Barbara Cigarroa’s God Never Dies, Michael Almereyda’s The North Wind’s Gift & To the Unknown, and Jason Giampietro’s Quarterbacks.