HomeEntertainmentNew York Film Festival 2022: Cancel Culture, Class Wars, and Existential Dread

New York Film Festival 2022: Cancel Culture, Class Wars, and Existential Dread

the 60th New York Film Festival opened Friday night with the North American premiere of “White Noise,” Noah Baumbach’s adaptation of Don Delillo’s 1985 black humor novel about a consumerist society facing environmental disaster.

Featuring 120 films from 40 countries, this year’s edition features premieres starring Cate Blanchett, Woody Harrelson, Anne Hathaway, Tilda Swinton, Timothée Chalamet, Sigourney Weaver, Claire Foy, Vicky Krieps and Michelle Williams. Notable directors whose works are on display include Martin Scorsese (David Johansen’s music documentary “Personality Crisis: One Night Only”), James Gray (“Armageddon Time”), Luca Guadagnino (“Bones and All”), Kelly Reichardt (“Showing Up”), Sarah Polley (“Women Who Talk”), Claire Denis (“Stars at Noon”) and James Ivory (“A Cooler Weather”). In a major shift, veteran documentarian Frederick Wiseman, known for his hours-long observational films (such as “High School,” “Central Park,” “National Gallery,” and “City Hall”) is represented by his first feature film. fiction, “A Couple”, with actress Nathalie Boutefeu as Sophia Tolstoy, wife of writer Leo Tolstoy. And it only lasts 63 minutes.

New York represents one of the best curated showcases of international cinema, containing Cannes award winners (“Triangle of Sadness”, “Corsage”, “Decision to Leave”, “Stars at Noon”, “Eo”), Berlin (“Alcarràs”, “The Novelist Movie”) and Venice (“All the Beauty and the Bloodshed”, “Tár”, “Saint Omer”, “Bones and All”), as well as Sundance Highlights ( the Indian documentary “All That Breathes” about brothers who raise birds of prey back to health).

Festival Spotlight screenings include the world premiere of “She Said,” Maria Schrader’s dramatization of New York Times reporters Jodi Kantor and Megan Twohey’s (Zoe Kazan and Carey Mulligan) investigation into the sexual misconduct that sparked the #MeToo movement (October 1). 13, 14, 15); Chris Smith’s “Sr.”, a portrait of filmmaker Robert Downey Sr. (October 10-11); Sarah Polley’s “Speaking Women,” in which women respond to sexual assault in a remote religious community (October 10, 11 and 16); “Till,” Chinonye Chukwu’s drama about Mamie Till-Mobley, mother of lynching victim Emmett Till (October 1, 2 and 6); “Is That Black Enough For You?” and Lars von Trier’s “The Kingdom Exodus,” a continuation of his series of surreal short stories set in a haunted hospital (October 8).

The 50th anniversary of Russian filmmaker Andrei Tarkovsky’s sci-fi classic “Solaris” will be marked by a screening accompanied by a live performance of a newly created score by Matthew Nolan and Stephen Shannon (October 12).

Revivals include Brazilian Glauber Rocha’s 1964 “Black God, White Devil” (Oct. 1, 10); Jacques Tourneur’s 1946 Technicolor Western “Canyon Passage” (October 2–4); and a restoration of Jean Eustache’s 1973 “The Mother and the Whore” (October 5-6).

And in tribute to festival favorite Jean-Luc Godard, who died on September 13, his 2018 film “The Image Book” will be shown for free and on loop from October 1-7.

Free talks include “White Noise” director Noah Baumbach (Oct. 1); “Master Gardener” director Paul Schrader (Oct. 2); Cauleen Smith, whose 1998 independent film “Drylongso” is among the festival’s revival screenings (Oct. 2); photographer and artist Nan Goldin, star of the documentary “All the Beauty and the Bloodshed” (October 8); Korean director Park Chan-wook, from “Decision to Leave” (October 9), and French writer Annie Ernaux, from “The Super 8 Years” (October 11).

The festival runs through October 16 at Lincoln Center and partner venues in Staten Island (Alamo Drafthouse), Brooklyn (BAM), the Bronx (Bronx Museum of the Arts), Harlem (Maysles Documentary Center) and Queens (Museum of the Moving Image).


Of the projected festival tickets at the time of publication, here are a few highlights. (More reviews will be posted as the festival continues.)

“White noise”

Don DeLillo’s 1985 novel about 20th-century consumerism, academia, social paranoia, and a “toxic event in the air” had been deemed unfilmable, with its shifting tones, tongue-in-cheek dialogue, and sprawling plot. In his adaptation, director Noah Baumbach (“The Squid and the Whale,” “Frances Ha”) replicates the book’s mix of tones, from busy family sitcom to biting satire of academia, disaster movie and the murder mystery (?) and retains much of the dialogue, inundating it with the existential dread of the characters, facing the brightly colored and crowded supermarket aisles.

Adam Driver stars as Jack Gladney, a Hitler studies professor at an Ohio university whose comfortable and chaotic family life, and a marriage steeped in an incipient fear of impending doom, is interrupted by a very real Fear of imminent death after a toxic chemical spill forces the evacuation of their town. Suddenly his scholarly interest in mass psychosis, as evidenced by the Nazi rallies, is more than just an intellectual exercise, as is his propensity for violence and belief in the soundness of his marriage.

Driver and Greta Gerwig as his wife, Babbette, do an excellent job of bringing the couple to life and guiding their blended family of four through disaster, while Baumbach definitely proves the novel. it is filmable, and (strangely) timely. And don’t leave before the end credits roll, unless you don’t want to see wacky musical numbers performed in a supermarket with LCD Soundsystem (and why not?). 136 minutes (Also screens October 15; opens in theaters November 25, before streaming on Netflix December 30. A Netflix release.)

To watch a trailer for “White Noise”, click on the video player below

white noise | Official preview | Netflix by
Netflix in


Cate Blanchett won the Best Actress award at the Venice Film Festival for her riveting and sometimes exhausting portrayal of Lydia Tár, a celebrated Berlin conductor whose professional success (culminating with her rehearsals for a recording series by Mahler) and his marriage to Sharon (Nina Hoss) are jeopardized by a cancel culture fueled by social media. Lydia’s favoritism when it comes to handsome young musicians, and the viciousness with which she targets music students, come back to haunt her when allegations of abuse threaten to undermine her carefully crafted image as a classical music icon. .

Blanchett’s physically demanding performance shows her dedication to detail (she studied conducting and German to conduct musicians in Berlin, and her performances of Mahler’s Fifth are genuinely moving), but it’s when she’s at her most calm and self-absorbed that her Lydia is. reveals herself as a psychologically fragile woman who slowly paints herself into a corner. Hoss (known from movies like “Barbara” and “Phoenix” and the TV series “Homeland”) is sensational as the supportive but fragile spouse whose strength and forgiveness finally meet a breaking point. Written and directed by Todd Field. who has been sadly absent from screens since the 2006 adultery drama “Little Children.” 157 minutes (October 3-4; opens in theaters October 7. Released by Focus Features).

To watch a trailer for “Tár”, click on the video player below.

TÁR – Official Trailer [HD] – In select theaters October 7 by
focus functions in

“Triangle of sadness”

A veritable “journey of the damned,” Ruben Östlund’s Palme d’Or winner at Cannes this year (the Swedish director’s first English-language film) is an acid satire in which a cruise yacht filled with super-rich passengers (as well as a social media influencer and her snap lover), and her crew members desperate to please, find themselves buffeted by stormy seas and armed pirates. The result? A host of the rich subjected to increasingly dubious stomachs, and a band of castaways on a desert island who are forced to rewrite social hierarchies in liberating and humiliating ways. The cast of the game features Woody Harrelson as a captain who spits on Marx; Harris Dickinson and Charlbi Dean as a young couple whose conflict over money and gender roles is sidelined by the requirements of survival; Vicki Berlin as Unofficial Head Butler; and Dolly De Leon as a lowly crew member who suddenly finds herself at the top of the heap.

Östlund hit a home run with his 2014 film “Force Majeure,” in which a man is forced to revise his image of himself as a protective husband and father after he flees in panic from an oncoming avalanche. “Triangle of Sadness” is her black humor triple, with the runner sliding desperately toward home plate. Whether he dodges the shot will depend on the referee’s tolerance for projectile vomiting. 145 minutes (October 1, 2 and 3; opens in theaters October 7. Premiered by Neon).

To watch a trailer for “Triangle of Sadness,” click on the video player below:

Triangle of Sadness | trailer | NYFF60 by
Cinema at Lincoln Center in

“Decision to Leave”

Korean filmmaker Park Chan-wook (“Oldboy”) won his best director award at Cannes for this crime film that seems to have been born out of film noir. The apparent suicide of an older man and his younger wife, who strangely doesn’t seem all that broken about it, arouses suspicion from police detective Hae-joon (Park Hae-il). He cannot let go of the case, nor can he ignore the widow, a Chinese citizen, Seo-rae (Tang Wei), who gets under her skin in a way that the married detective cannot ignore.

Despite a few injections of humor to remind us of the monotony common to most police work, the film is a delicate and emotionally charged character study of a man for whom resolutions seem forever out of reach, delving into the moral dilemma Hae-joon must grapple with as he grows closer to a woman he may have killed, and may kill again. Korean and Chinese with English subtitles. 138 minutes (October 8-9; opens in theaters October 14. MUBI Premiere).

To watch a trailer for “Decision to Leave,” click on the video player below:

DECISION TO LEAVE | Official Trailer | In theaters in the US and UK this October by

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