Set entirely across one anxious night, Elaine May’s emotionally tremulous third feature stars John Cassavetes as a Philly gangster running for his life and Peter Falk as his childhood friend who—unbeknownst to him—is helping his pursuers.

In this delicate and poignantly autobiographical film from Carla Simón (Alcarràs, NYFF60), 18-year-old Marina negotiates her idealized memories of her parents, whom she lost at a young age, when she arrives in sun-kissed Galicia to meet her extended family for the first time.

The singular Cornish filmmaker Mark Jenkin (Enys Men, NYFF60) immerses the viewer in the uncanny environments of the small towns along the coast of Cornwall, here spinning a sci-fi-tinged tale of dislocation and regeneration starring George MacKay and Callum Turner.

Among the most disarmingly funny and cathartic entries in Tsai Ming-liang’s filmography, The Hole sets one of cinema’s strangest and most tender end-of-the-world romances in a crumbling Taipei apartment block.

Jane Campion’s ravishing, Palme d’Or–winning breakthrough, starring Holly Hunter and Anna Paquin in Oscar-winning roles, returns to the big screen in a new 4K restoration—and still feels startlingly alive.

Kiyoshi Kurosawa’s stately, meticulously composed period drama, set in 16th-century Japan, is a tense and metaphysical whodunit with the director’s characteristic philosophical overtones.

In Kent Jones’s marvelously witty second feature, a once-upon-a-time New York poet (Willem Dafoe) gets an ego boost when he is welcomed into the world of an emerging literary salon, but must reckon with the authenticity of his newfound circle of twentysomething admirers.

Winner of the Silver Bear at the 1993 Berlinale and newly restored in 4K, the great Burkinabé writer-director Idrissa Ouédraogo’s Samba Traoré remains one of the decisive works of African cinema.

Inspired by the true story of a “fake” invention, Kevin Walker and Jack Auen’s Chronovisor follows a Columbia professor deep into a Borgesian labyrinth of textual clues pointing to a time-travel device rumored to have been suppressed by the Vatican.

Frequently hailed as the greatest Czech film ever made, František Vláčil’s staggering medieval epic, shot in stark widescreen black and white, plunges into the blood-soaked borderlands of 13th-century Bohemia amid the uneasy transition from paganism to Christianity.