Godard’s textured cinematography casts a lovely gossamer spell on Denis’s delicate film, which begins in the territory of Renoir’s La Bête humaine and develops into an enchanted evocation of Ozu’s Late Spring.

Churchill shot and co-directed this documentary about America’s first female serial killer, Aileen Wuornos, whose escalating madness is unsparingly depicted as she approaches execution.

Luminously photographed by Irina Lubtchansky in the open-air splendor of the south of France, the final film from arch gamesman Jacques Rivette is a captivating variation on one of the themes that most obsessed him: the ineffable interplay between life and performance. An NYFF47 selection. Screening with Sarah Winchester, Ghost Opera.

Eliza Hittman follows up her acclaimed debut It Felt Like Love with this sensuous, sensitive chronicle of sexual becoming, in which a Brooklyn teenager (breakout star Harris Dickinson) spends his nights exploring the world of online cruising.

This retelling of Billy Budd, set among a troop of Foreign Legionnaires, is one of Denis and Godard’s finest collaborations: a sensuously photographed story of misplaced longing and frustrated desire.

Visionary cinematographer Babette Mangolte allows viewers to peer through the lens of her camera in this heady consideration of the complex relationship between photographer, subject, and viewer.

Johnson’s directorial debut feature is a self-portrait of an artist who has traveled the globe, venturing into landscapes and lives that bear the scars of trauma both active and historic.

Ryan Coogler takes the Rocky legend into the 21st century as Michael B. Jordan’s gutsy Adonis Johnson—son of Apollo Creed—sets out to prove he’s got what it takes to be the next champ.

While studying cinematography at La Fémis in Paris, Johnson shot this portrait of one of the most influential and iconoclastic figures of the 20th century.

An arrangement between a French businessman and a young Ukrainian male prostitute begets a home invasion and then an unexpectedly profound relationship in this absorbing, continually surprising film by Robin Campillo (BPM: Beats Per Minute).

The feverish imaginations of DIY surrealist Michel Gondry and screenwriter Charlie Kaufman kick into overdrive for the great gonzo sci-fi romance of the early 2000s.

Exquisitely shot by Céline Bozon (director Serge Bozon’s sister), this unclassifiable hybrid of war movie and movie musical is truly unlike anything you’ve ever seen before.

Rachel Morrison’s gripping, exploratory Super 16 camerawork explores the unseen complexities in the life and tragic death of Oscar Grant in Coogler’s remarkable debut feature.

Caroline Champetier’s moody lensing creates the feeling of an all-enveloping universe operating according to its own paranoid logic in this tale of four female acting students who share an apartment that may or may not be linked to a criminal conspiracy.

Barbara Alvarez imparts a restrained—and very strange—spatial texture to Martel’s excitingly splintered third feature, about a woman (María Onetto) in a state of phenomenological distress following a mysterious road accident.

This unclassifiable, expansive movie from Leos Carax operates on the exhilarating logic of dreams and emotions.

Filmed with a mixture of casual detachment and needlepoint precision by Josée Deshaies, Bonello’s House of Tolerance is a gorgeous, opium-soaked fever dream of life in a Parisian brothel at the turn of the century.

Agnès Godard has never been more focused on the visceral than in Denis’s laconic drama about an aging man (Michel Subor) who leaves home in pursuit of a heart transplant and his estranged son.

Pulling double duty as director and cinematographer, Reed Morano evokes the melancholic beauty of the apocalypse with this gorgeous and strange drama about a misanthrope (Peter Dinklage) savoring the solitude of the end of the world—until someone else (Elle Fanning) arrives.

The monotonous daily routine of a Brussels housewife is transformed with dread and suspense in Akerman’s monumental masterpiece.

Capturing the striking beauty of Lima’s outskirts, Llosa’s second feature follows a woman who suffers from a traumatic curse passed on to her by her mother, a rape victim.

A teenage girl (Chloë Grace Moretz) forms an unlikely family after being sent to a gay conversion therapy center. A FilmRise release.

In this nightmarish take on the contemporary fashion world, an aspiring model (Elle Fanning) moves to Los Angeles, where her youth and vitality are devoured by a group of beauty-obsessed women.

At once a dreamlike portrait of teen alienation and a boldly experimental work of film narrative, Paranoid Park follows a withdrawn high-school skateboarder as he struggles to make sense of his involvement in an accidental death.

Here revolutionizing the dance film just as he did just as he did the music documentary in Buena Vista Social Club, Wim Wenders began planning this project with legendary choreographer Pina Bausch.

Cinematographers Caroline Champetier and William Lubtchansky telegraph a freewheeling, anything-goes sense of play, as well as a creeping surveillance paranoia, in one of the most elaborate of Jacques Rivette’s sprawling, down-the-rabbit-hole cine-puzzles.

At the age of 88, Éric Rohmer bid adieu to cinema with this enchanting, sun-dappled mythological idyll, which brims with all the vitality and freshness of youth.

Lancelin evokes the sublime and fantastic in Oliveira’s magical tale of a young photographer desperately in love with a woman he can never have, except in his dreams.

Mathon captures naked bodies and hardcore sex with the same matter-of-fact sensuousness that they bring to ripples on the water and the fading light of dusk in this exploration of death and desire around a gay lakeside cruising spot.

One of the most daring works to emerge from the New Queer Cinema movement of the early 1990s, Swoon offers a radical, revisionist perspective on the infamous Leopold and Loeb murder case.

The elegant long shots of DP Akiko Ashizawa toy with the meticulous framings of Ozu in Kurosawa’s unexpected—but wholly rewarding—foray into melodrama-cum-black comedy about secrets and deceptions within a seemingly average Japanese family.

Sciamma’s warmly empathetic tone is perfectly complemented by the soft-lit impressionism of Crystel Fournier’s glowing cinematography in this sensitive, heartrending portrait of what it feels like to grow up different.

Todd Haynes’s delirious rock opera about a journalist (Christian Bale) hired to reconstruct the sordid life story of the failed glam star (Jonathan Rhys Meyers) he’d idolized as a young man is as colorful, noisy, and chaotic as Haynes’s Safe had been clinically restrained.

Alice Rohrwacher’s sophomore feature, a vivid yet mysterious story of teenage yearning and confusion, conjures a richly concrete world that is subject to the magical thinking of adolescence.

Join us for an hour-long conversation with cinematographers Natasha Braier, Ashley Connor, Agnès Godard, and Joan Churchill as they discuss the series and reflect on their careers and influences, and how they approach their craft.