In the world of cinema and amongst cinephiles of New York, if autumn is synonymous with the New York Film Festival (NYFF), then New Directors/New Films (ND/NF) means spring is in the air and a new season of the potentially future best and brightest is about to be ushered in. Taking place April 2 through April 13, the over 50-year-old festival of emerging new filmmakers also marks the long lasting collaboration between hosts, Museum of Modern Art (MoMA) and Film at Lincoln Center (FLC). Although for many of the FLC festivals throughout the year, such as the prestigious NYFF and Rendez-Vous with French Cinema they include some new talent, it is only the highly anticipated New Directors/New Films that is dedicated solely to revelatory new works and their fearless leaders (filmmakers), with an emphasis on “distinctive visions and risk-taking works highlight the vitality and potential of cinema.” To be sure, over the many decades history of ND/NF that standard has been met, with directors such as Win Winders (1972), Peter Greenaway (1978), Spike Lee (1983), Guillermo del Toro (1992), Jim McKay (2003) and Sarah Polley (2012), just to name a very few, that are boasted among the festival’s alumni. 

While this year the “risk-taking” criteria is definitely upheld, the quality level of writing and storytelling, and in some cases, execution, gave one pause. Is it the selection committee? Is it the submissions they had to choose from? Is it a lack of funding for aspiring directors? Or maybe it’s reflective of a generation of filmmakers influenced by quick hits from social media. Whatever it is, this reviewer and frequent festival goer was at times hard pressed to find plots and well-crafted stories and character development in some of this year’s selections that was previewed (Full disclosure: While I saw many of the films, I did not see everything selected).

There are a few very noteworthy exceptions. As such, this overview will focus on a couple of them.

“Stranger” by Zhengfan Yang is a collection of compelling vignettes that make one fantastic movie you won’t want to end. Any one of the shorts would probably make a good feature film and is worth the price of admission, but collectively, what a treat. From the opening story of two men being interrogated by agitated police for seemingly bogus reasons, you’re intrigued. Next, a personal favorite of a post-wedding photo session in which the groom indulges a major secret. Another vignette features a husband quizzing his very pregnant wife as to how to get through U.S. airport security questions under the guise of short-term travel. These and other scenarios unfold in “Stranger”, which makes commentary on China’s social, political, and economic identity while exploring themes of where and what is home. Yang uses long takes, without context no less, that manage to continuously captivate, surprise and delight. In fact, the last of the vignettes has absolutely no dialogue. The long continuous, probably one-take scene is of an apartment building in which the audience sees all the tenant’s front window and their various activities. It is all about the visual storytelling, with a bit of natural background sounds. 

Zhengfan seems as much a visual director as an actors director. He makes it hard to believe this is his first film. He is truly one to watch.

Stranger
Director/Writer: Zhengfan Yang
Stars: Jin Jing, Liguo Yuan 
Country: U.S./China/Netherlands/Norway/France, 113m
Language: Mandarin, Cantonese, and English with English subtitles

Another noteworthy selection hails from Lithuania/Latvia. “Drowning Dry” starts off as one thing- in the middle of a mix martial arts match and the locker room afterwards as the winner (Lukas) is surrounded by his family and close friends and their various reactions to his victory- leading viewers to assume it could be a story about the athlete, his sport and his wife’s anguish over it. But soon all the characters, made up of Lukas’ young family and his wife’s sister’s family, are at their shared vacation house in the country and the scene is set for fun, bonding as well as unexpected setbacks and eventual tragedies. Although not much seemingly happens beyond house cleaning, sparse jovial conversations, eating and swimming at the nearby lake, things take a turn, with a couple more twists for good measure.

Writer-director Laurynas Bareiša, an ND/NF returning participant, shoots in a non-linear format, which can be both confusing at times, but also intriguing and interesting. Through it, he presents certain characters’ experiences and their different memories of those experiences.

Title: Drowning Dry 
Director & Writer: Laurynas Bareiša, 2024, Lithuania/Latvia, 88m
Stars: Gemlike Glemzaite, Agne Kaktaite
Language: Lithuanian with English subtitles
Production company: Trickster Pictures

This year’s ND/NF will present 24 features and nine short films, including 20 North American or U.S. premieres. More information on New Directors/New Films and additional film selections can be found here: 

 A Classic Film Festival of New French Films
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If you can’t have springtime in Paris- as in actual Paris- Film Lincoln Center’s (FLC) Annual French film festival can give you the next best thing. Rendez-Vous With French Cinema, co-sponsored by Unifrance, is a welcome breath of fresh air showcasing a wide variety contemporary movies of French filmmakers, both new and emerging as well as established and revered. The 23 movie lineup over 10 days (March 6-16), covers multiple genres, but has a particular focus on drama, comedy and thrillers.

Some of the featured highlights include festival opener, “This Amies”/ “Three Friends” by Emmanuel Mouret. The film explores the complexities of friendship and romantic relationships through the perspectives of three close friends (played by Hair, Camille Cottin, and Sara Forestier). Each friend is experiencing specific life and romance milestone and enlists one another’s advice and support. On the surface and certainly through this film’s trailer, it appears to be almost a light hearted romp, but in actuality, “Three Friends” is a tender and poignant drama that both surprises and delights. In more of the thriller category and a personal favorite is “Les Fantomes”/ “Ghost Trail” directed by Jonathan Millet and featuring a quiet and powerful performance by Adam Bessa. Recently released from Syrian jail, Hamid (Bessa) is seemingly just going through the motions of life, working in construction in Strasbourg, but haunted by his taunted by his past in prison and obsessed by the man who tortured him. As a result, he strikes out to find him and exact revenge by joining a small unofficial network of like-minded people looking for justice for war crimes. Making its U.S. premiere is the six-episode documentary miniseries “DJ Mehdi: Made in France,” an in-depth and pulsating examination of the legacy of this huge talent and star. “DJ Mehdi” is directed by one of Mehdi’s closest friends, Thibaut de Longeville who, not surprisingly, got incredible access and footage.

In the category of quietly arresting is “Hiver à Sokcho”/ “Winter in Sokcho”. Twenty-something Son-ha (Bella Kim) works in a rustic hotel in a small Korean town.Having never met her French father, new emotions arise in her when artist Yan Kerrand (Roschdy Zem) arrives to stay at the hotel. The half-Korean literature student and the French outsider strike up a rapport, but Son-ha thinks she wants more and knows she needs answers regarding her father. This is an intimate and utterly alluring drama set against the rugged and wintry  background of this quiet sea-side town.

Also in the lineup is “Hors du temps”/ “Suspended Hours,” a new release and partially autobiographical movie from seasoned director Olivier Assayas (“Summer Hours”). Taking place during Covid lockdown of 2020, filmmaker Paul Berger (Vincent Macaigne) retreats to a family house in the country, along with his music critic brother and their romantic partners. The brothers endure the stress of a global pandemic while navigating their current relationships and family memories and the arts. This seemingly has all the elements of a meaty family drama similar to Assayas’s masterpiece, “Summer Hours,” but unfortunately it falls short of that. Although at times charming and delightful, and other times a bit dramatic, the somewhat bland writing and one-dimensional characterizations make it difficult for the film to find its footing or its way to strike the right tone.

Other films directed by Rendez-Vous returning favorites that are sure not to disappoint, include the U.S. premiere of In “His Own Image” by Thierry de Peretti, a film where politics and romance meet at the intersection of a noble fight for justice and independence; “When Fall Is Coming” is the latest from legendary filmmaker François Ozon. It is a dark thriller about a retiree whose simple life in the country is not reflective of her complicated past. Just as welcome as returning directors to the festival are festival and French film favorite actors such as the great Vincent Lindon in not just one festival entry, but three: “Le Croix”/ “Cross Away,”“Jouer avec le feu”/ “The Quiet Son” and “The Second Act” / “Le Deuxième Acte” Also participating in the Rendezvous is Isabelle Huppert- small in stature but a giant of French cinema. She stars along with Hafsia Herzi, (“The Secret of the Grain), a relatively new actress with an already big appeal and acclaim. The two are paired up in “La Prisonniere de Bordeaux”/ “Visiting Hours”. This is a moving drama from Patricia Mazuy. Alma (Huppert) is an affluent housewife who meets working-class single mom, Mina (Herzi) during their visits to a prison where both of their husbands are serving time. Despite their different backgrounds, the two forge a bond, with Alma inviting Mina to move her family temporarily with her. It doesn’t take long before their friendship and trust are put to the test. This cinematic pairing is worth the price of admission.

With this being the festival’s 30th season, there seems to be no love lost between New York film goers and French cinema. Likewise, FLC has no plans to stop this annual showcase of beloved filmmakers and their art. Florence Almozini, Vice President of Programming at Film at Lincoln Center, said, “French cinema remains as inspiring as ever, with the strength, vitality, and depth of the films featured in the 30th edition of Rendez-Vous with French Cinema serving as a testament to its enduring power… Film at Lincoln Center is proud to mark 30 years of presenting new French films to New York audiences, in collaboration with our long-standing partners at Unifrance.”

As with all the FLC festivals throughout the year, the directors and/or cast members will be in attendance and on hand for Q & A sessions after most screenings. There are also some festival talks that are free to the public and available online. For more festival information and tickets, go to https://www.filmlinc.org/festivals/rendez-vous-with-french-cinema/#films

Diversity of genres, characters, issues and themes take center stage for the 34th Annual New York Jewish Film Festival (NYJFF) and co-presented by Film at Lincoln Center (FLC) and The Jewish Museum. Going on now through January 29th, the festival which is known for being one of the oldest and best of its kind the focuses on a presenting a combination of carefully curated documentary, narrative, and short films from around the world that explore the Jewish experience. Although there are over 20 selections for the festival, as is traditional for FLC, there are three especially prestigious positions that make up the Opening, Centerpiece and Closing film selections. 

Opening Film: “Midas Man,” a biopic on Brian Epstein and directed by Joe Stephenson and written by Brigit Grant serves as the festival Opening film.  Epstein is the Jewish and gay music lover and visionary man who discovered and then managed the Beatles in the 1960s before his tragic death at age 32. The impact of the Beatles on the music industry and pop culture is still felt today and launched after the band’s legendary appearance on The Ed Sullivan Show by storm in 1964. That appearance came to be all because of Epstein.

Centerpiece Film: This year’s Centerpiece Film, “Of Dogs and Men” dives right into the current tragic series of events taking place in Israel and Gaza. Director Dani Rosenberg examines the horrors of it all through an experiential account of a teenager who returns home to her kibbutz searching for her missing dog in the aftermath of Hamas’s October 7 attacks in Israel. The film does not stop there, but rather takes a humanist approach to the ongoing conflict, including both the tragic losses for Israel and the horrific violence of retribution toward Gaza.

Closing Film: Closing things out is the eagerly anticipated documentary, “Ain’t No Back to a Merry-Go-Round.” Filmmaker Ilana Trachtman’s recalls a crucial 1960 part of the Civil Rights Movement when protesting Black students were joined by Jewish locals as they together took to a merry-go-round in a segregated park in Maryland. The film’s objective is to highlight the importance of allyship in the face of social injustice.

Other noteworthy titles included in the festive are “Elie Wiesel: Soul on Fire”, “Full Support, “The Zweiflers.” And "The True Story of Tamara De Lempicka & the Art of Survival” by filmmaker Julie Rubio. Tamara de Lempicka was the preeminent Art Deco painter. She was misunderstood and marginalized because of her bi-sexual lifestyle and her need to hide her Jewish background. This is, of course, a visually captivating film experience due to footage of De Lempicka’s art, but it is also rich content and access.

Based on the film line up, it is impressive that during these polarizing times within the Jewish community specifically, and society overall, that the NYJFF is making a bold commitment to highlighting sensitive issues and hard themes, as well as including diversity of filmmakers. If you live in or near New York, take advantage of these screenings, most of which will include a Q & A session afterward’s with the film’s director. If you are outside of the area, look for these films to come to a theater near you or accessible to various streaming platforms.

Soon, look for me to post full reviews of a couple of the screenings from this festival. 

For festival details and to purchase tickets, access the link below:
https://www.filmlinc.org/festivals/new-york-jewish-film-festival/#films

“Blitz” - If the New York Film Festival (NYFF) opened up with quiet poignancy in the form of “The Nickel Boys,” it went out with a bit of a bang with its closing film, “Blitz” by Steve McQueen. A commonality amongst the film and television projects by McQueen is that he explores stories and aspects of history not usually seen. Keeping in that tradition is his latest, taking viewers to characters and situations not often portrayed in wartime London during its blitzkrieg by the Germans. Taken from the point of view of a young single mother (Saoirse Ronan) who works in a war-related factory, and her 9-year-old bi-racial son, George (Elliott Heffernan).

After George is sent away with other children as a safety precaution from potential bombings, he escapes the train to make his way back to his mom and grandfather. Along the journey back home, he encounters characters that highlight the impact of war on everyday residents of an urban area, as well as the marginalization of people of color and those that choose to align with them. In addition to the unique points of view and themes for this period drama, what stands out are the cinematography, sets and sound editing.

“Emilia Perez” - This undoubtedly will prove to be one of the most unique and exhilarating films of the year, if not ever, and the most audacious from director Jacques Audiard’. “Emilia Perez” defies categorization and genre while encompassing the best of several- drama, musical, dark comedy and crime mystery. It’s campy. It’s sexy. It’s not to be missed. From the opening sequence featuring a whip smart, under appreciated attorney (Zoe Saldana -did we know she can sing?!), whose expertise is enlisted by a high profile Mexican drug lord desirous of gender reassignment surgery, the viewers are taken on an enthralling cinematic ride full of twists and turns that will have you thinking and talking about it for days after. The film’s creative concept and stellar execution are only rivaled by outstanding, unexpected performances by each lead, including Saldana in the role of her career, Karla Sofia Gascon in the title role, and Selena Gomez as the heart broken and beleaguered widow of the drug lord (okay, we knew she could sing, but did we know she had drama acting chops?!).

Try to see it in theaters before it’s too-soon-to-streaming platform release. It's a fantastic movie to experience on the big screen and with a collective audience.

“Hard Truths” - If it’s been a long time since seeing a Mike Leigh film, now is the time to get reacquainted. True to form, Leigh delivers a character driven drama, laced with humor and imbued with pivotal social themes. “Hard Truths” proves that at 81-years-old, Leigh is still at the top of his game. For this project he is reunited with Marianne Jean-Baptiste, one of the stars from “Secrets & Lies” (1996). Jean-Baptiste gives a tour-de-force performance (Oscar nod, please!) as Pansy, a middle-aged woman whose mental health issues, not immediately realized by the audience are evidenced in the form relentless anger that’s become toxic for everyone around her, most notably her working-class husband and her depressed adult son.

“I’m Still Here” - This wholly drawn political drama by Walter Salles (“Motorcycle Diaries,” “Central Station”) focusing on Brazil’s dark period of a military dictatorship. Depicted through the true life situation in 1971 when Rubens Paiva, a former congressman and outspoken critic of Brazil’s newly formed, questionable government, was taken from his home in Rio de Janeiro by officials. Although he and his wife, Eunice (Fernanda Torres), were told it was just a routine deposition to authorities, he never returned, forever changing the lives of his wife and their five young children. A shattered Eunice spent the rest of her life seeking the truth as to her husband’s disappearance, demanding answers and accountability from authorities. This film is both heartbreaking and harrowing.

“Maria” - If you’ve seen Pablo Larrain’s two other films about real life tragic, rich white women - “Jackie” and “Spencer”- then “Maria” will feel like more of the same. Like those others, it is a snapshot portrayal, quasi bio pic of an iconic female character. For “Maria,” featuring Angelina Jolie, it is quick dive into the life of legendary opera star, Maria Callas. The film takes place a week before her untimely death as she is retired from performing and grappling with life away from the stage, something that clearly was her whole life.

Unlike those earlier character studies, with “Maria” most don’t know much about Callas, as in her personal life and how her career got launched. Unfortunately, we don’t learn any of that from the film. Where the three are similar however is in Lorraine’s casting lead roles. Jolie, like Natalie Portman as Jackie Kennedy and Kristen Steward as Lady Diana, gives a captivating performance. Also noted is the alluring cinematography despite the innumerable annoying close ups, and unique editing style. Sadly though, all that cannot save the anemic script and story and overall lackluster execution. In other words, it’s beautiful but boring.

“The Room Next Door” - It’s nothing but the best of casting for legendary Spanish auteur, Pedro Almodovar’s first English language feature length film. Starring Tilda Swinton as Martha, a retired war journalist who is in the throes of cancer treatment, and Julianne Moore as her long lost friend, Ingrid a best selling writer. The film is adapted from Sigrid Nunez’s novel, “What Are You Going Through” about the friend’s reuniting under the unfortunate circumstances of Martha’s terminal illness.

For “The Room Next Door” Almodóvar continues with his tradition of exploring the lives of women, but this time with a very distinct and welcome American sensibility while still being unmistakably Almadovar. Instead of Madrid that often serves as a central character, this time it’s Manhattan and Upstate New York, with sumptuous interior and exterior locales. This is as much a story about the power of female friendships as it is about the choices about life, death and dying. Although there are a few moments of awkward dialogue writing and tonal issues, along with an odd dual role of one of the primary actors, overall it’s an engaging and touching story. The performances by and pairing of Swinton and Moore that make it worth the price of admission.

“Rumors” - Here too is another delightful and unexpected selection by NYFF 2024. Basically, this is a whip smart, sometimes silly political- Sci Fi romp portraying a fictional G-7 Summit meeting, with Germany as the host and Cate Blanchett as the German chancellor. While the summit members are having a private lunch out in the woods away from the press discussing vague political and odd personal ones, it appears after a while, that all their security and staff are oddly no where to be found. The summit members as well as the audience find themselves at the onset of a major international crisis, potentially a human apocalypse.

Even for the wide range talent and project selections of Blanchett, “Rumors” seems a far departure. I don’t know how she ended up in this mix of comedy, politics and science fiction, but I’m glad she did.

“The Shrouds” - While director David Cronenberg has consistently been wildly inventive over the years with some creative gems like “The Fly,” “Dead Ringers,” “Spider,” just to name a few,  for many he has also been hit or miss as far as quality or success. We give him credit though for always swinging for the fences. For this his latest, he remains true to his odd and creative roots, but sadly, it is a miss as far as writing, tone and execution.

In the wake of tech entrepreneur, Karsh (Vincent Cassel) losing his wife (Diane Kruger)to cancer, he has developed a new software that will allow the bereaved to bear witness to the gradual decay of loved ones dead and buried in the earth. Things go awry and the mystery unfolds when some of the graves are tampered with and the technology is stolen. While many, especially die-hard Cronenberg fans, may find “The Shrouds” eerie and thought provoking, many others (myself included) will just find it odd, uneven and unsatisfying.

“Universal Language” - Think Wes Anderson film, but in some ways, better in a raw and unpretentious way. “Universal Language” puts less emphasis on bold and flashy set designs and affected speech patterns that mask over any semblance of an actual storyline, instead it presents all the fun and absurdity while possessing more substance over style. Canadian writer- director, Matthew Rankin cleverly intersects three sets of characters and scenarios with the backdrop of a wintry Winnipeg and within an Iranian community. Two kids discover and try to retrieve money frozen in a block of ice with the intention of buying their classmates a new pair of prescription glasses; a tour guide brings befuddled visitors on a walking tour of the city’s most obscure landmarks; and a melancholy man (Rankin in an autobiographical role) returns home from Montreal to reunite with his ailing mother.

Rankin seamlessly and wonderfully weaves a distinct deadpan sense of humor throughout each situation and every character. Rankin admittedly was inspired by Iranian films of the 1970s, humanistic children’s fables, and we’re all better off for it. This adorable, inventive and wildly absurd little movie manages to be both real and surreal, and humorous and poignant.

Photo credit: Stephen Lam/The SF Chronicle

   Like always, the Mill Valley Film Festival hailing from Northern California every autumn, has a robust documentary showcase section. For the 2024 festival this includes 21 real story films. Not least among them is an impressive entry from American director and producer, Julie Rubio. She is best known for producing the award-winning independent film “East Side Sushi” but premiering at MVFF is her feature length documentary debut, “The True Story of Tamara De Lempicka & the Art of Survival”. This is the story of the greatly admired, yet little known about female artist, Tamar De Lempicka. From her rise to stardom in 1920s Paris to her move to the United States in 1940, fleeing the rise of fascism, and her revival in the current art market.
   A working mother, feminist, style icon, and bisexual libertine, De Lempicka embodied Art Deco’s spirit and portrayed high society women in boldly erotic terms that broke the male gaze. Encouraged by her grandmother, young Tamara emerged as a prodigious talent who combined cubism, classicism, and surrealism to reinvent the female figure, not as object but as protagonist. In this riveting documentary, Rubio fills in the surprising contours of a remarkable life with never-seen-before home movies and other artifacts, and including never-before-publicized information from descendants, curators, and art historians who cite reinvention as the survival strategy. De Lempicka is a misunderstood but courageous figure who fled the war and authoritarianism, while supporting herself and her daughter and determined to stay true to her artistic vision.
​   Although the specific project is four years in the making for Rubio, the idea for it and its initial plans for it as a feature film started nearly 20 years ago. Recently, I got the opportunity to speak to her about the project’s concept and journey.

PF: The documentary is a departure from your other projects. How did it come about?

JR: When I first met the de Lempickas about 20 years ago at the Weinstein Art Gallery while working on another artists-related screenplay. A common acquaintance through the gallery knew the de Lempicka’s (daughter and granddaughter) were looking for writer-director to do something about Tamara, so he facilitated a meeting between them and myself. We hit it off right away, and I began to research Tamara to create a narrative screenplay. Unfortunately, early on in that process things got a bit complicated regarding rights, etc.

Given the issues, I decided to file away the project. Fast forward many years later during early days of the pandemic during a conversation between my creative producer, Amy Harris and I, we brought up the idea of re-visiting a project about Tamara. This time though, it felt like doing it as a documentary, not a narrative, was the better, more authentic approach.

PF: At that point, did you reconnect with the de Lempicka family and get their blessing on this new iteration of the project?

JR: We had remained in touch and friends, so they had no hesitation about it. I took advantage of having time on my hands during the pandemic to dive into the research and begin the project in earnest.

PF: Through research you acquired, you made some interesting discoveries about Tamara’s identity. Please explain about that.

JR: Yes, we found groundbreaking documents and publications confirming Tamara’s true name and birthdate, and her family’s conversion from Judaism to Calvinism.

PF: Once you started uncovering these things, it became a big guiding force for the direction of the film, correct?

JR: Absolutely. So many modern researchers and writers got it wrong. They over simplified Tamara and her unique situation, marginalizing her and claiming she was a weak person and just vain. They vilified her for calling her daughter her sister. But she was raising a daughter on her own and coming into her talent and stardom when there were very few women in the art world, and during the rise of Hitler. She was covering because she was a single mother, Jewish and bi-sexual.
                                          ___________________________________________________________

For years, the world believed Tamara de Lempicka’s name was Tamara Rosalie Goragorscoc, and that she was born on May 16, 1898. Rubio’s researched uncovered that her name was actually Tamara Rose Hurowitz, and she was born June 16, 1894. The whole family converted religion and changed their name.
                                         ____________________________________________________________
 
JR: It sheds that light on the courage, the measures it took in order to survive as a family. Her concealment of her Jewish heritage wasn’t an act of deceit, as many made it out to be., it was necessary against the ever present persecution. Others have overlooked these aspects of her life that reveal the challenges and her resilience.

PF: The heart of the documentary because answering the questions about why and how she felt compelled to hide so much of her identity, in addition to what she is known for… her art.

JR: Yes, in addition to all her life challenges and having to hide in order to survive, she was a brilliant talent that left such a legacy of art. If you look at each of her paintings, they tell a story. If you look at the year, you know exactly what was going on in her life and what was going on politically.

PF: Through the filmmaking process what ended up being the most challenging for you? Was it balancing  with the family, or maybe research or funding?

JR: Fundraising for sure. Women are still not getting the same support for films. We’re living in a man’s world but have lots of female stories. And although we make up 51 per cent of the population, we’re navigating a system, especially in the film industry, that skews to men and their projects. Thank goodness for a festival like MVFF that started the Mind the Gap program, specifically designed to give women filmmakers more access in their programming.

                                     _______________________________________________________________


Mind the Gap champions the bold female and nonbinary filmmakers telling these stories. For the 2024 festival the program features a wave of exceptional emerging talent shaping the future of film and collective imaginations. This gender equity initiative began several years ago when festival organizers  set a goal  to achieve a 50/50 balance of women and men directors at the festival. To their delight, they reached their goal earlier than expected.

                                       _______________________________________________________________


“The True Story of Tamara De Lempicka & the Art of Survival” is wonderfully imbued with the renowned artist’s stunning paintings, along with equally enlightening never-before-revealed information about the painter. A big part of what makes certain documentaries work more so than others is access and revelation. Ms. Rubio’s homage to De Lempicka delivers on both aspects and is well worth seeking out. I you are in the San Francisco Bay Area you can see the film at the MVFF on October 13th. The U.S. premiere of the documentary at MVFF coincides with the first major U.S. retrospective of the artist’s works at the de Young Arts Museum of San Francisco going on now through February 9, 2025. 
Upcoming screenings:
- Roxie Theater San Francisco, October 26 @ 1pm

Julie Rubio is also the founder of East Meets West Productions. When she's not working on her films, she's helping other women realize their movie making goals as the Director of Business for Women in Film SF Bay Area. 

At 62-years-old there are a lot of familiar aspects to the prestigious New York Film Festival (NYFF), like heavily auteur driven entries and gleaning the best from the Cannes and Venice Film Festivals, yet ensuring all their selections will be U.S. premieres. As to the changes, NYFF has clearly been influenced by changing social tides it’s not surprising there are some welcome new elements such as a bit more women filmmakers and directors of color represented in the lineup, and going paperless on the press/film notes. NYFF has always had a relatively modest size amount of films in their repertoire in comparison to the likes of other festivals like Cannes, Mill Valley and Toronto. The boutique nature of the festival confirms their commitment to being carefully curated, aka, the cream of the film crop. Most of the films here will go onto art houses and Oscar contention.

The festival is divided into five categories: Main Slate, which includes the opening, center piece and closing films is considered the core of the program. “It is a selection of the most exceptional new films from around the world.” (Films at Lincoln Center/FLC) Spotlight “expands the vision of the Main Slate, showcasing a selection of the season’s most anticipated and significant films.” Currents "complements the Main Slate, tracing a more complete picture of contemporary cinema with an emphasis on new and innovative forms and voices.” (FLC) Revivals “showcases important works from renowned filmmakers that have been digitally remastered, restored, and preserved with the assistance of generous partners.” (FLC) Talks, which are free to the public, “features in-depth conversations with filmmakers, critics, curators, and more” (FLC). Videos of these interviews are available for free on YouTube. 

While the festival’s official opening is at the end of September, the press screenings have already been underway. As such, below are a few previewed thus far.

“All We Imagine As Light” - This is a richly observed inter-generational story of female empowerment in modern day Mumbai; an impressive debut by Payal Kapadia, who won this year’s Grand Prize at the Cannes festival. Focusing on Prabha, the head nurse at a local hospital and her relationship with her younger roommate, Anu, a student nurse, and her older friend, Parvaty, who also works at the hospital. The three women are at various states of their careers and personal relationships. Prabha seems to have been abandoned by her husband through an arranged marriage, while Parvaty is dealing with the aftermath of her husbands death, and Anu is pursuing a forbidden romance with a young man despite her parents’ attempts to marry her off. Seek this film out when it comes to an art house in your neighborhood.

“Anora”- Riding the wave of being the Palme d’Or winner at Cannes, this film by Sean Baker has a lot of buzz around it and rightfully so. It is undeniably fun, funny and a creative raucous modern romp in the tradition of an Ernst Lubitsch comedy from the 1940s and Night Shift from 1982.The movie follows a young exotic dancer, Anora (Mikey Madison), who works at a club in Brighton Beach. Because of her Russian background, she is one night paired up with a young Russian customer, Ivan, who as it turns out is the son of a wealthy Russian oligarch. Being on his own in the States, the reckless, spoiled youth ends up becoming enamored with Anora, buying her time and affection. Claiming to be in love with her one night while partying in Las Vegas, Ivan proposes, and the two get married in a quickie wedding. When they return to New York and the family’s personal manager and body guards learn of the marriage, chaos ensues and the fun begins over a 24-hour period.

This is already a festival audience favorite that will probably be readily available soon in theaters or on a streaming platform.

“The Brutalist”-  Coming in at 3.5 hours, with a built in 15 minute intermission, this movie is a long cinematic commitment, but a masterful achievement by director Brady Corbet, and oh so worth it. At the center of the story is Laszlo Toth (Adrien Brody), a Hungarian Jewish World War II survivor and talented architect who has made his way to America in 1947 After initially staying with and working for his cousin, the owner of a modest furniture store outside Philadelphia.Toth eventually ends up on his own, taking on manual labor odd jobs.

Through a series of events, he gets connected with Harrison Lee Van Buren, a wealthy industry tycoon played by Guy Pearce. Van Buren recognizes Toth’s unique talent in design and gives him a monumental project to work on while awaiting the arrival of Toth’s wife from Europe. What starts off as a friendship and opportunity of a lifetime, turns into volatile relationship leading to the rise and fall of Toth professionally and personally.

“Nickel Boys” - It’s not hard to understand why this was selected for the most prestigious slot of the festival’s Opening Film. It is equal parts a magnificent work of art, a fantastic adaptation for the prize winning 2019 novel of the same name by Colson Whitehead, and creatively and beautifully shot.
 It is more common for readers to be skeptical of an adaptation of a beloved book, but with “Nickel Boys” director RaMell Ross has managed to not only maintain the strong messaging of the source material based on true and horrifically racist events from a boys reform school in Florida, but in some ways enhance it. This through unique visual techniques including shooting it entirely through the point of view of the two leads played by Ethan Herisse as Elwood, and Brandon Wilson as Turner. The two form a close bond that serves to sustain their hope during their time at the Nickel Academy.

“No Other Land” - This is a verity-style documentary by Israeli journalist Yuval Abraham and Palestinian journalist Basel Ada who collaborated on this project from 2019 through October 2023. The two filmmakers provide a harrowing account of the systematic destruction experienced by Masafer Yatta, a group of Palestinian villages in the southern West Bank, at the hands of the Israeli military. The two, who also take up activism, commit to filming and protesting, along with other village residents, the demolitions of homes and schools and the resulting displacement of their inhabitants, which were carried out to make way for Israeli military training ground.

“No Other Land” might prove challenging to watch, but its messaging and timeliness make it worth whatever heartache to endure or political assumption to overcome in experiencing this documentary. Hopefully that will prove true too for a perspective distributor because as of the time of this review, the documentary had no distributor. Interested viewers may need to make an effort to seek out this important film through independent art house theaters.

“Youth (Hard Times)” - Unlike the aforementioned “No Other Land,” this verite style documentary that is part of a series, is not worth navigating. While it is undeniable that the subject matter of sweatshops in China, their conditions, and complicit parties are undeniably significant, the film’s execution of conveying this is sorely lacking and depressing. That, along with the nearly 4 hour running time commitment makes it more of an endurance test than a worthwhile film experience. Although documentary filmmaker Wang Bing is a bit of a festival darling, in this, his lack of substantive information is glaring. It would be preferable that “Youth (Hard Times)” either be a narrative film, with a story line and character development, or be a traditional formatted documentary, with engaging interviews and information.

“Poor Things” and “The Favourite” director Yorgos Lanthimos is known for being one of the most unique and creative filmmakers in Hollywood. His directing career, which began in his home country of Greece in 2001, has garnered attention as well as criticism and praise… but mostly praise. Over the years, his reputation of cleverly combining a quirky sensibility with equally strong themes and unusual content and characters has endeared him some of the best acting talent in Europe and America. And since 2018 between the release of “The Favourite” and “Poor Things,” Lanthimos’ films have racked up quite a few Oscar nominations and awards, confirming his unique talent and appeal.

Given that “Poor Things” was the darling of this latest award season (2024), including star Emma Stone winning for Best Actress in a Leading Role, one might expect Lanthimos to rest on his laurels… or at least rest. Instead he is riding on the heels of the acclaim and awards and has released “Kinds of Kindness.” The single movie is made up of a collection of three short-ish films (about an hour each) and done in the tone of fables and using the same ensemble of actors, headed up by the seamlessly talented Jesse Plemons and Emma Stone who also is the film’s producer. Initially the three stories seem disparate, but the more you get immersed in each one, the more themes and commonalities merge.

The first follows Robert who tries to take back control of his own life after his boss and sometimes lover dictated every aspect of it. As such, the boss, played by Willem Dafoe, has gone as far as selecting Robert’s wife, house and determined that he should not have children. After ten years of such control, the boss insists on an especially odd and dangerous task of Robert. When he declines, the boss rejects Robert, leaving him to second guess himself and spiral. In the next story, Robert is a policeman who is devastated by the loss of his wife who is missing at sea while on a work excursion. When she returns, Robert is convinced it is actually not his wife. Soon the accusations and paranoia ensue. For the last installment, a couple/colleagues (Emma Stone and Jesse Plemons) are on a mission to find a specific candidate with special abilities to raise the dead and destined to become a spiritual leader for a cult-like following.

While “Kinds of Kindness” is in keeping with Lanthimos’ quirky characters and creativity, it is not, however, in the same ilk has his latter works. “Kindness” is more so harkening to the filmmakers earlier projects, like “Dogtooth” or “The Killing of a Sacred Deer” where sophistication in style and presentation takes a backseat to darker sensibilities, and downright weird story lines and themes. This is not necessarily a bad thing, more of a warning to viewers more accustomed to and inclined towards the Lanthimos films of recent years. For some, it may be less delightful and more daunting, but conversely,  “Kindness” might serve well to entreat fans who are unfamiliar with the first half of is repertoire to go back and experience the director’s entire cannon. I’m sure that is the hope, but the reality is that the majority of latter film fans probably will not crossover to his very dark comedy form.

“Kindness” is definitely an acquired taste, with it more likely that many will find it outright weird and maybe even offensive or problematic regarding the portrayal of abuse and kink. What could have made it more palatable and engaging would have been if the characters spoke in normal patterns. Instead, the dialogue is delivered in stilted affectations throughout. What is the standout for the triptych is the talent, especially Plemons. True to form as a chameleon, he is a consummate character actor and “Kindness” solidifies him as the Phillip Seymour Hoffman of his time and one of the best around (I sense early Oscar buzz). Likewise, Dafoe and Stone are strong second leads to Plemons’ as the principal actor throughout. Other supporting actors and  welcome new additions to the Lanthimos lineup are Hong Chau, Mamoudou Athie and Margaret Qualley.

Love it or hate it; engaged or disdained, there are plenty aspects to appreciate about “Kinds of Kindness”- the mysterious elements of how the stories are conjoined, and the use of the same actors for varying roles, and each performances. “Kinds of Kindness” is the messy, but not necessarily tragic accident on the highway. You are the passenger-turned-gawker who can’t not look away.

Director Tran Anh Hung and his latest film are a match made in culinary and cinematic heaven. The opening scene, of "The Taste of Things," which doesn’t seem as long as it actually is - nearly 40 minutes long - is a luminously attractive parade of culinary delights. It is a period piece showing a couple/man and woman and two young females assisting with the gathering of vegetables, preparing various dishes, and carefully crafting and cooking each of several courses one at a time. Think of the opening of Ang Lee’s 1994 “Eat Drink Man Woman” but 25 minutes longer, more items and infinitely more tantalizing close up shots. Then it all gets served, lovingly consumed and painstakingly described.
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All is set in an equally beautiful setting of a French countryside house and garden in 1889, with most of the movie taking place in a rustic, yet grand and charming kitchen brimming with copper pots and pans, a large wood-burning fireplace, a chunky wood table sitting on a stone floor and flanked by generous stoves, baskets with food and fresh cut flowers, and utensils on every surface. The tones throughout are dark and cozy. Director Ahn Hung has created a world of culinary delights. A feast for the eyes.

Initially, the relationship between this gastronomic couple, Eugénie  (Juliette Binoche) and Dodin (Benoît Magimel) is not known. Are they in a romantic relationship or just a professional one executing exemplary meals? Not too far into the story, it is realized that their’s is a special relationship that balances both- a passion for the culinary arts as well as a personal affection resulting from two decades of working together. It is their shared love of food and cooking that led to a deep romance usually only subtly portrayed. Eugenie is a humble, yet esteemed cook, and Dodin, a revered gourmand.

Although Binoche and Magimel are the stars, and wonderfully so, the themes of gastronomy and love is at the center of this romantic drama. In true Ann Hung minimal style (“Scent of Green Papaya,” “Vertical Ray of the Sun”), aesthetics and ambiance are more prominent than words and dialogue. “The Taste of Things,” based on the French novel “The Passionate Epicure” (1920 by Marcel Rouff), is a unique love story about love itself and the love of food.

I recently had a chance to interview the director about his latest film. Here is our discussion:

Q: Your films display a strong visual sensibility where aesthetics and overall tone are seemingly more important than traditional scripts heavy with dialogue. Would you agree with that observation and if so, was that something you learned or did it come naturally?


A: It did come naturally to me, probably because I’m attracted to visual arts. In movies I don’t try to get something that looks real, something in everyday life. I prefer to give an expression of it. By doing so, the beauty came naturally. I always want audiences to come out of the theater with a feeling of beauty.

Q: You’ve always been okay with using dialogue sparingly?

A: In talking about words, I think it’s good to balance dialogue with a lot of silence. That way when you hear words, it’s more precious. This combined with the visual aspect, make it more vivid.

Q: How did food and cooking come to be one of the main aspects of the film, along with a longterm relationship? Was part of it inspired by your wife, actor, Tran Nu Yen Khe’s (“Vertical Ray of the Sun”) love of food and overall design?

A: In one way or another, my wife and I have worked together with my film projects for almost 30 years, so we know each other and how to collaborate very well. She has done the costumes for some films, the production design for others as well as the art direction for everything, including Taste of Things. The look and beauty of it is in large part thanks to her.

When I wanted to make a movie about food, I found a particular book, but the story wasn’t good. Given that, I decided to tell a different story. This story is inspired by my relationship with my wife. Because of my age I wanted to make a movie about marital, that kind of love that lasts a long time. The challenge was how to make a movie about love, with a sense of harmony that would not be boring,

Q: How exactly is gastronomy central to the story and the featured relationship?

A: Food in general is one source of centrality in our lives, along with love, so it was important to have a film that combined that to find a balance. I knew the audience needed to actually see people making the craft of gastronomy with real vegetables and real meat, etc.

Anh Hung relayed that because of the complexity of the cooking scenes he had hoped to have adequate training time for the actors with a chef. He specifically planned for one week of training, but due to both Binoche’s and Magimel’s work schedules, they were only available for  half a day of training. That could have been daunting, but it actually ended up being enough because the perform at such high levels no matter what the roles or tasks.

Q: With the art and craft of gastronomy being so central to the film, with the actors actually prepping, creating and plating, was it particularly challenging to cast and direct actors who had no prior culinary experience, per se, and then end up with little time to train?

A: Well, firstly, although they have no professional experience with food, like all of us they do still cook in their everyday lives. This is especially true for Benoit because he has a particular passion for cooking. The other thing is that they are great professionals with a lot of experience in varying roles. Case in point, Benoît had played a surgeon once and realized he could draw upon his skills he learned from that role to this one.

Anh Hung explained that the incredibly gorgeous and historically accurate food created was born of a collaboration with a food historian during the script writing process. Once they settled on items and tested them out, everything was run by the production’s food advisor who made minor adjustments to the menu. Afterwards and throughout the entirety of the shoot, Binoche executed the menu to perfection. Tran confirmed that there were no cut aways to someone else slicing and dicing or cooking.

Q: You are no stranger to working with talented actors, food and lush aesthetics, but I’m especially impressed how you write and direct projects of different countries and languages, including Vietnamese, Japanese and French. Given your background, does Vietnamese come most naturally and easily as far as language and culture? Is French more of a challenge?

A: Actually, my French is better than my Vietnamese. Switching languages for a script and directing comes very natural to me, and when I come to France to direct, I have no problem getting a sense of the culture and conveying it. I like French culture. Also France, unlike some other European languages and cultures has a subtlety to it that coincides with my Vietnamese nature.

The downplayed expressions of love between Eugénie  and Dodin is something I can relate to and is very French. There is great love there, but they often do keep their distance to focus on the tasks at hand. And sometimes I mix cultures in my mind and writing. When the two characters in this film discuss the seasons as it connects to their personal preferences and their relationship, that is actually very Japanese, but put in this context, it sounds very French and it works.

Q: Speaking of very French, how did you come to the casting? Not that Binoche wouldn’t be the top of any director’s wish list.

A: Although Juliette and I have never worked together until now, we have known one another for a long time, over 20 years. We’ve always wanted to collaborate and when I started writing this script, I knew this would be a great opportunity. She was there from the beginning and she stayed event when we hit some difficulties. Everything with her was quite amazing because when you frame her, everything becomes strong. Likewise, Benoit is amazing too and I’m grateful to have both of them for this project.

When you see the movie, it’s obvious that there was a special connection between not only Binoche and Magimel, who in the late 90s were a couple in real life and share a daughter, but also between the lead actors and their writer/director. If ever there was a passion project, this is it. “Taste of Things” was born out of love, made from love and dedicated to the love between Tran and his wife. While some couples are scrambling for last minute tokens of their affection for their loved ones this Valentine’s Day, for director Ann Hung can lovingly point his wife to this  deliciously gorgeous film now and forever. For the rest of us, we can watch “The Taste of Things” together and experience the food and feel the love.

Born in Vietnam and living in France for many years since 1975, Tran Anh Hung studied filmmaking in Paris at l’École Nationale Louis Lumière. His directorial debut, “The Scent of Green Papaya” (1992) won him a reputation internationally by winning Camera d’Or and the Prix de la Jeunesse at the 46th Cannes Film Festival. The film was also nominated for the Academy Award for Best Foreign Language Film. 

Director/Writer: Tran Anh Hung
Stars: Juliette Binoche, Benoit Magimel, Emmanuel Salinger
Country: France
Language: French
Run Time: 2 hours 15 min
MPAA Rating: PG-13
Production Company: IFC Films
Trailer: https://www.youtube.com/watch?v=cKKCGtoIOVY

“The Teachers’ Lounge” is Germany’s submission for Best International Feature Film to the 2024 Academy Awards, and just a few minutes into it, it’s easy to understand why. The film uses a public school as a microcosm for society, with grade school teacher Carla Novak (Leonie Benesche) at the center. Although she is new-ish to teaching, she is confident and idealistic and seemingly well-liked by her middle grade students as well as her colleagues. That all changes when students in her classroom are suspected of theft by other teachers, and she suspects a colleague of stealing money from her coat pocket.
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During the initial scene of her students being unofficially investigated for a theft, Carla is clearly uncomfortable with the accusations, probing and profiling taking place. She questions the ethical and legal nature of the investigation. She sympathizes with the students’ feelings of being violated and a couple of them maybe even unfairly profiled. Despite her unease, she is instructed by the principal and teacher involved to accept their decision to investigate and their methods. Not long afterwards, she realizes she has been the victim of a theft in the teachers’ lounge. In an attempt to catch them in action, Carla purposefully puts money in her jacket pocket, leaves it at her seat, then sets up her computer camera. The thief takes the bait, but only his or hers torso is captured on camera wearing a distinctive and colorful blouse.

With evidence in hand, she approaches who she believes is the culprit, one of the support staff in the school office. The secretary vehemently denies the accusation. Soon after, a series of heated debates and unfortunate events are unleashed, with the secretary’s son, a student at the school who is often the subject of bullying, is swept up in the drama. He lashes out at the teacher in defense of himself and his mother. Others question if the mother and son are not being singled out because of their ethnicity and economic status. This is the very thing that Carla questioned when certain students were targeted in her classroom. Now she herself is accused of what she had earlier suspected. Carla, once appreciated and admired; cool and calm, is getting it from all sides. There is no place in the school- her classroom, the teachers’ lounge, common areas- where she is not either the victim of accusations or brought into decisive matters between others. Not surprisingly, she begins to second guess herself, the choices she made and the allegations she made.

Because the movie is done entirely from Carla’s point of view and she is well-meaning and likable, the audience is sympathetic to her and what becomes her plight of digging a deeper hole as she tries to navigate what’s right and wrong. She is the teacher you would want for your children or would have wanted for yourself. You feel the chaos swirling around and want to defend and protect her. Benesch is magnificent as the protagonist. She morphs into the role, believable and captivating. She makes us believe that Carla is us in our everyday battles no matter how small or large; it’s individuals grappling with when to engage in political or community issues, and when to retreat. Through it all, filmmaker İlker Çatak (“White Ribbon”) impressively navigates themes of power, racism, social justice and  student’s rights. There is something both very reflective of German society while also intensely universal.


Director: İlker Çatak
Writers: İlker Çatak and Johannes Duncker
Stars: Leonie Benesche, Eva Lobau, Leonard Stettnisch
Language: German
MPAA Rating: PG-13
Run Time: 1 hour 38 minutes