The long-anticipated sci-fi/action epic had its North American premiere at New York Film Festival on October 7th. The film’s director, Denis Villeneuve, gave a brief speech and special thank you to the New York audience for being in attendance. He later was joined by the film’s composer, Academy Award winner, Hans Zimmer for a post-screening Q&A.
Gaspar Noé has always been a challenging filmmaker.
The Knockturnal was on the scene for the NYFF premiere of Director/Producer/Writer Rebecca Hall’s “Passing” at Alice Tully Hall.
Cast Tessa Thompson, Ruth Negga and Andre Holland were in attendance. They were joined by producers Nina Yang Bongiovi, Forest Whitaker and Margot Hand.
Lesli Klainberg (FLC Executive Director), Eugene Hernandez (Director of NYFF) and Dennis Lim (FLC & NYFF Director of Programming) were also in attendance.
The Netflix release and awards season contender is based on Nella Larsen’s 1929 novel Passing. Writer/Director Rebecca Hall makes an impressive debut with this beautifully shot black and white picture. Tessa Thompson and Ruth Negga play as middle-class reacquainted childhood friends Irene and Clare whose lives have taken divergent paths. Clare has decided to “pass” as white to maintain her social standing, even hiding her identity from her racist white husband, John (Alexander Skarsgård); Irene, on the other hand, is married to a prominent Black doctor, Brian (André Holland), who is initially horrified at Clare’s choices.
Thompson told reporters on the red carpet, “I feel so privileged to be in this film, to be screening it at New York Film Festival and I’m so excited and nervous for people to see it. To be honest – I’ve missed cinema, I’ve missed gathering and to watch stories collectively. So I’m also so excited to get to do that, never mind that it’s a film that I’m proud of.” She spoke on the film’s themes. “Yes completely there are themes of race and gender. But, I also think it’s a film that is about ways in which we all pass, which is to say that sometimes we don’t allow ourselves to be the fullest expression of who we are – we pretend to be things that we are not and that is a kind of prison in a way … you could read the source material Nella’s Larson beautiful slim 93 pages of a novela and then soon Clare’s character is passing. In fact Irene (the character I play) I think is passing for so many things. I think it’s like a cautionary tale … you are privileged enough to live in a time where you can really show up and be who you are. It’s probably the best thing to try and do for everyone’s sanity.”
A fantastic party followed at the Empire Hotel Roof where guests celebrated the NYFF premiere and Tessa Thompson’s birthday. DJ MOS was on the turntables.
Nature is Peleshian’s first feature film in 27 years. Andrei Ujică’s 2 Pasolini was originally part of an exhibition with The Fondation Cartier pour l’art contemporain. Both enjoyed premieres at the 59th annual New York Film Festival.
Oui, j’adore la cinema française!
Merci pour Wes Anderson, because the auteur’s partnership with the French Institute Alliance Française (FI:AF) has brought some of the greatest French films stateside for a very special curated event. Is there a greater double feature–no, triple feature–than Anderson’s ode to a fictional French town with a François Truffaut classic, followed by a Jacques Becker comedy?
While Anderson could not be in-person for the U.S. premiere of his gorgeously whimsical anthology film “The French Dispatch” at the stunning 59th New York Film Festival, he certainly achieved the goal of placing a beret atop the Big Apple thanks to his “French Connection” collaboration with FI:AF.
From Sept. 14 through Oct. 26, running every Tuesday, FI:AF screens selected films through its CinéSalon, beginning with “Peppermint Soda” and concluding with “Antoine and Antoinette.”
Highlights from the program include Truffaut’s “The Man Who Loved Women,” telling the story of a philandering writer whose final lovers reunite at his funeral, while his female editor retraces the missteps of his heart. “Max and the Junkmen” offers a unique twist on a dark comedy about an aloof Parisian detective who tries to deceive a gang of bank robbers, all while falling for one of the criminal’s girlfriends. Lastly, Becker’s “Antoine and Antoinette” is a magnificent romp of a romantic comedy as a young couple seeks out a misplaced winning lottery ticket.
“French cinema has always been part of Anderson’s artistic heritage and the acclaimed auteur has picked some of his favorite French films to be screened for FI:AF audiences,” the site reads. “The series coincides with the highly anticipated release of Anderson’s star-studded film, ‘The French Dispatch.'”
Calling all cinephiles and francophiles, Anderson’s FI:AF curation certainly should not be missed. And, “The French Dispatch” is a must-see, perfect for a hazy fall Sunday where we can all escape into a European fantasy world of art, passion, and promise.
For more information, visit here.
The Knockturnal was on the scene for the star-studded New York Film Festival premiere of Maggie Gyllenhaal’s directorial debut “The Lost Daughter” at Alice Tully Hall this week.
Being an artist leaves you vulnerable.
With all of the free time, people have right now, who could resist?
Edward Norton discusses the setting and story of his new film, ‘Motherless Brooklyn,’ at the New York Film Festival’s closing night
The closing night film at New York Film Festival, “Motherless Brooklyn” is an exercise in self-indulgence from Edward Norton, a hodge-podge of ideas without any real cohesion.