Join us for a special double-feature event with screenings of Carol and Lovers and Lollipops, plus an extended conversation with Todd Haynes.

Shelley Winters’s performance as the doomed young woman at the center of one of Stevens’s biggest runaway successes—the Dreiser adaptation won six Oscars in 1952—is a prototype for many of Haynes’s tragic heroines.

A one-night-only event featuring a rare screening of Dottie Gets Spanked, a conversation with Todd Haynes, and a special surprise.

Russ Meyer and Roger Ebert’s manic, hysterical assault on American celebrity culture is a true oddity—an X-rated, tonally berserk black comedy commissioned when a major studio decided to fund a parody of one of its own films—and a clear antecedent to Haynes’s three films about the perils and ecstasies of fame.

Kimberly Peirce’s wrenching re-creation of the events leading up to a widely publicized hate crime—the rape and murder of a Nebraska trans man in 1993—was one of Killer Films’ major critical and popular successes.

In June 1968, Valerie Solanas shot America’s most famous artist. Harron’s film follows the entry of this woman—magnetically played by Lili Taylor—into, and out of, Warhol’s rarified inner circle.

The last of the exquisite, turbulent, gaspingly moving melodramas that Max Ophüls made in the U.S. after World War II is this dark melodrama, a suburban nightmare that occupies strikingly Haynesian territory.

How do you film the life of an artist as protean, elusive, surprising, and heavily mythologized as Bob Dylan? Haynes’s biopic, in which six actors take turns embodying the singer, considers that question and swallows it whole. An NYFF45 Selection.

Bob Dylan’s ultimate cinematic testament—never officially released—is this blissful, digressive chronicle of his 1966 UK tour with The Hawks (soon to be The Band) immediately following his debilitating motorcycle accident. Screening with: Assassins: A Film Concerning Rimbaud (Todd Haynes, 43m).

Alan J. Pakula (All the President’s Men) assembled a remarkable team of collaborators for this seamy underworld thriller about a small-town Pennsylvania PI (Donald Sutherland) drawn into the web of intrigue and murder surrounding a New York call girl (Jane Fonda).

None of Haynes’s films have been so instantly, visibly influential as his groundbreaking feature debut: an intercut trio of explicitly gay-themed stories saturated with the angry, death-haunted, theory-mad atmosphere of early-’90s LGBT culture. Screening with Decodings (Michael Wallin, 15m).

Rainer Werner Fassbinder, whose desperate, operatic movies are one of Haynes’s formative influences, himself starred in this bleak moral fable, one of the great tragedies of European cinema. An NYFF13 Selection.

The unnamed disease afflicting the housewife at the center of Haynes’s indelible AIDS allegory—widely considered one of his masterpieces—has taken on new, unexpected meanings since the film’s release, but nothing has changed the uncanny precision of its setting, look, and tone.

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.

With its narrative logic and polymorphous sexual dynamics, this devilish cult classic from Nicolas Roeg and Donald Cammell starring James Fox and Mick Jagger would become a foundational text for generations of glam films.