This week we’re excited to present an archival conversation between journalist & author Min Jin Lee and Drive My Car director Ryûsuke Hamaguchi, whose new film, Evil Does Not Exist, will make its U.S. premiere as a Main Slate selection of the 61st New York Film Festival. Inspired by a Haruki Murakami short story, Ryûsuke Hamaguchi spins an engrossing, rapturous epic about love and betrayal, grief and acceptance. With his characteristic emotional transparency, Hamaguchi charts the unexpected, complex relationships that theater actor-director Yûsuke Kafuku (Hidetoshi Nishijima) forges with a trio of people out of professional, physical, or psychological necessity: his wife, Oto (Reika Kirishima), with whom he shares an erotic bond forged in fantasy and storytelling; the mysterious actor Takatsuki (Masaki Okada), whom he’s drawn to by a sense of revenge as much as fascination; and, perhaps most mysteriously, Misaki (Tôko Miura), a plaintive young woman hired by a theater company, against his wishes, to be his chauffeur while he stages Uncle Vanya. Hamaguchi specializes in revelations of the heart, and Drive My Car—a beautiful melding of two distinct authorial sensibilities—consistently steers clear of the familiar in its characters’ journeys towards self-examination. Winner of Best Screenplay at the 2021 Cannes Film Festival.

This week we’re excited to present a conversation with director Ira Sachs, whose new film, Passages, is currently playing in our theaters. A masterful work of psychosexual intensity, the newest film from Ira Sachs offers one of the director’s most cutting variations on desire and intimacy. Co-written by author and longtime collaborator Mauricio Zacharias, Passages follows Tomas (Franz Rogowski), a mercurial German filmmaker living in Paris whose commitment to his husband, Martin (Ben Whishaw), falls short when he pursues a dalliance with a young schoolteacher, Agathe (Adèle Exarchopoulos). Martin begins his own affair soon after, while Tomas swings between both relationships and unleashes a reckless succession of breakups and makeups. With fearless performances from Rogowski, Whishaw, and Exarchopoulos, Sachs crafts a cinematic rarity in which the white-hot pleasures and compulsions of a particularly dysfunctional amour fou are kept on par with ferocious honesty. This conversation was moderated by film critic, Esther Zuckerman.

This week we’re excited to present a conversation with director Sofia Coppola, whose new film, Priscilla, will make its North American premiere as the Centerpiece selection of the 61st New York Film Festival on October 6th. In this archival conversation with Coppola, the director discusses her 2013 film, The Bling Ring. Co-starring Emma Watson and Leslie Mann, The Bling Ring tells the story of a group of teenagers obsessed with fashion and celebrity that burglarize celebrities' homes in Los Angeles. Tracking their targets' whereabouts online, they break-in and steal their designer clothes and possessions. Reflecting on the naiveté of youth and the mistakes we all make when young, amplified by today's culture of celebrity and luxury brand obsession, we see through the members of the Bling Ring temptations that almost any teenager would feel. What starts out as teenage fun spins out of control and leaves us with a sobering view of our culture today. This conversation was moderated by former Director of the New York Film Festival, Kent Jones. This conversation was sponsored by HBO.

Director Todd Haynes discusses his mid-90s film Safe, exploring its portrayal of the AIDS epidemic and the unique depiction of suburban Los Angeles. They talk about the importance and complexity of the film, the challenges faced in financing and casting, and the stylistic inspiration and themes of the movie. They also discuss the setting of the film and the influences that led to its creation, including the prevailing New Age, self-help, self-blame doctrine of the 1980s. Additionally, they mention two films that were initially considered to be shown alongside Safe, highlighting their connection to suburban contemporary life.

Christian Petzold, director of Afire, discusses his new film, a visually striking melodrama set in a seaside town threatened by wildfires. The conversation touches on the film's transformation from comedy to psychological complexity, personal experiences with COVID-19, and the absence of summer movies in Germany, possibly linked to its history with fascism.

This week we're excited to present a conversation with Paulina Urrutia, a film subject in Maite Alberdi's new documentary, The Eternal Memory. Augusto and Paulina have been together and in love for 25 years. Eight years ago, their lives were forever changed by Augusto’s Alzheimer’s diagnosis. As one of Chile’s most prominent cultural commentators and television presenters, Augusto is no stranger to building an archive of memory. Now he turns that work to his own life, trying to hold on to his identity with the help of his beloved Paulina, whose own pre-eminence as a famous actress and Chilean Minister of Culture predates her ceaselessly inventive manner of engaging with her husband. Day by day, the couple face this challenge head-on, relying on the tender affection and sense of humor shared between them that remains, remarkably, fully intact. This conversation was moderated by Lucila Moctezuma.

This week we’re excited to present a conversation with with cult-favorite director Park Chan-wook. Three decades into his feature filmmaking career, Korean filmmaker Park Chan-wook—recipient of the Best Director award at last year’s Cannes Film Festival—made his New York Film Festival debut with Decision to Leave, an intricate Hitchcockian epic that both draws on familiar genres like the crime thriller and the melodrama and takes them in entirely new formal and psychological directions. We were thrilled to welcome Park to NYFF60 last October for a deep-dive conversation delving into his long and acclaimed career, his affinity for genre filmmaking, his artistic influences and inspirations, and the making of his latest feature. For our event, Deep Focus: Park Chan-wook, the filmmaker spoke with film critic Farran Smith Nehme.

This week we’re excited to present a conversation with documentary filmmaker Mark Cousins, who recently joined us for a screening of his latest feature, The March on Rome. Filmmaking’s role in influencing the political landscape and popular consciousness has been a well-established subject in cinema, but few works have performed as deep an investigation into it as the latest from Mark Cousins, The March on Rome. Using a propagandistic documentary depicting Mussolini and the Black Shirts’ seizure of power as his point of departure, Cousins captivatingly delves into the film’s cinematographic particulars and political context to demonstrate that the rise of fascism in the first half of the 20th century had little to do with its supposed popularity—rather, its ascent was just another spellbinding illusion on the silver screen, albeit one with tragic real-life consequences. Alba Rohrwacher appears periodically in staged interludes as a woman whose initial enthusiasm for fascism tarnishes when she witnesses firsthand the fallout from Mussolini’s rise.

This week we’re excited to present a conversation with the great Hungarian filmmaker, Béla Tarr, who recently joined us for screenings of four films from his acclaimed filmography, three of which were new restorations, courtesy of Janus Films. Three years in the making, Werckmeister Harmonies is a sustained, real-time immersion in the universe of weatherbeaten villages and full-contact metaphysics in which co-directors Béla Tarr, Ágnes Hranitzky, and writer László Krasznahorkai specialize. A curiously smart paper carrier named János (Lars Rudolph, in an astonishingly complex performance) observes a mysterious traveling circus—complete with a stuffed whale—that comes to town, and marks a sea change in relationships of all kinds—between families, lovers, peasants and royals. In this movie, voted as one of the best of its decade by Film Comment, each action, however small, carries the weight of revolution. With Fassbinder icon Hanna Schygulla.

This week we’re excited to present a conversation with actress Françoise Lebrun, who appeared in Jean Eustache’s 1973 masterpiece, The Mother and the Whore, and Charles Gillibert, the producer of the film’s new restoration. The Mother and the Whore will be opening in our theaters in a new 4K restoration as part of “The Dirty Stories of Jean Eustache,” a 12-film retrospective of the French director’s work, from June 23–July 13, courtesy of FLC and Janus Films. Tickets are on sale now at filmlinc.org/eustache. After the French New Wave, the sexual revolution, and May 1968 came The Mother and the Whore, the legendary, autobiographical magnum opus by Eustache that captured a disillusioned generation navigating the post-idealism 1970s within the microcosm of a ménage à trois. The aimless, clueless, Parisian pseudo-intellectual Alexandre (Jean-Pierre Léaud) lives with his tempestuous older girlfriend, Marie (Bernadette Lafont), and begins a dalliance with the younger, sexually liberated Veronika (Françoise Lebrun, Eustache’s own former lover), leading to a volatile open relationship marked by everyday emotional violence and subtle but catastrophic shifts in power dynamics. Transmitting his own sex life to the screen with startling immediacy, Eustache achieves an intimacy so deep it cuts. Lebrun and Gillibert spoke with FLC Senior Director of Programming Florence Almozini following a screening of the film in the Revivals section of the 60th New York Film Festival.