"When I started attending the New York Film Festival, in the nineteen-eighties, it was a sprint to watch as many films as I could afford because many of them would never see a U.S. release. In this year's edition (Sept. 26-Oct. 13), several of the films will come out soon after the festival ends, thus replacing urgency with sheer festivity. With its many sections and venues, the N.Y.F.F. seemingly turns Lincoln Center into a cinema city. This year, the festival's glow is even more self-reflective than usual: some of its best offerings were made just a short jaunt from where they'll be screened."
"The "New York Shorts" program includes Nathan Silver's documentary "Carol & Joy," which was filmed in the Upper West Side apartment that the actress Carol Kane shares with her mother, Joy Kane, who's ninety-eight. Joy speaks at length about growing up in a culturally sophisticated yet oppressive family and holding her artistic temperament in check, before achieving a belated liberation. The film's devastating revelations of intimate betrayals dispel nostalgia and sentiment down to the last shreds."
Attendance in the nineteen-eighties required sprinting to see rare films that often never reached U.S. release, creating urgency. The current edition (Sept. 26–Oct. 13) features multiple films that will be released soon after screenings, shifting urgency into celebration. The festival's numerous sections and venues effectively convert Lincoln Center into a dense cinema city. Several standout offerings were made locally, lending a self-reflective glow. Programs include Nathan Silver's Carol & Joy filmed in Carol Kane's Upper West Side apartment, Ira Sachs's dramatization Peter Hujar's Day, and a new Hong Sangsoo feature centered on familial tensions.
Read at The New Yorker
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