This week we’re excited to present a conversation with Dìdi director Sean Wang, who recently joined us for the 2024 New York Asian Film Festival. In his feature debut, Sean Wang, hot on the heels of his Oscar-nominated documentary short Nǎi Nai & Wài Pó, crafts a poignant and humorous narrative that captures the essence of adolescence in 2008 California. Thirteen-year-old Chris, aka Wang Wang (Izaac Wang), navigates the treacherous waters of teenage life, from awkward dating to ruining friendships, while discovering his passion for skateboard filming. Wang deftly employs timeless coming-of-age tropes, exposing the embarrassing and hilarious moments that define this pivotal stage. However, it is Chris’s struggle with his identity as an Asian American that elevates the film. Joan Chen and Shirley Chen deliver nuanced performances as Chris’s mother and sister, respectively, adding depth to the family dynamics. Wang’s nonfiction background lends authenticity and an insightful touch to this resonant dramedy, reminding us that the journey to self-discovery is universal, regardless of one’s background, and that the path to understanding oneself is often paved with both laughter and tears. Winner of the 2024 Sundance Film Festival Audience Award: U.S. Dramatic and U.S. Dramatic Special Jury Award: Ensemble. Dìdi opens in theaters on July 26, courtesy of Focus Features. This conversation was moderated by NYAFF’s Executive Director Samuel Jamier.

This week we’re excited to present a conversation with The Life Ahead director Edoardo Ponti who recently joined us for the retrospective Sophia Loren: La Signora di Napoli. Sophia Loren delivers a towering performance in her son Edoardo Ponti’s 2020 adaptation of the novel Madame Rosa, which embodies the range, intelligence, and innate charisma of the legendary actress. Previously adapted in 1977 by Moshé Mizrahi, with Simone Signoret in the lead role, Ponti moves Romain Gary’s novel to Bari, Italy, where a Holocaust survivor turned children’s caretaker (Loren) forms an unlikely friendship with a bitter street kid (a spectacular Ibrahim Gueye) after he robs her. By turns tender and haunted, the storied role of Rosa is imbued here with the unmistakable wisdom of a seasoned performer, who subtly nods to her own illustrious on-screen persona with subtlety and grace. This conversation was moderated by FLC Programmer Tyler Wilson.

This week we’re excited to present a conversation between My Dinner with André lead actor Wallace Shawn and Janet Planet filmmaker Annie Baker. When Dan Talbot, the pioneering distributor and exhibitor of international art films, read playwrights Wallace Shawn and André Gregory’s script for My Dinner with André, he was so excited about the project that he helped director Louis Malle procure production funding from Gaumont. The concept was to depict an encounter between the two writers, playing fictionalized versions of themselves, as they discuss mortality, money, despair, and love over a meal at an Upper West Side restaurant—according to Gregory, Malle’s one direction was to “talk faster.” By turns entertaining, confessional, funny, and moving, suffused with melancholy and joy alike, the film became a sensation at the art house upon its release, playing to packed theaters for a solid year, and went on to endure as a perennial favorite on the home video circuit. Now please enjoy the conversation between Annie Baker and Wallace Shawn.

This week we’re excited to present a conversation with Last Summer director Catherine Breillat and lead actress Léa Drucker from the 61st New York Film Festival. An NYFF61 Main Slate selection, Last Summer opens Friday at FLC, featuring Q&As with Breillat on Friday, Saturday, and Sunday. Get tickets at filmlinc.org/summer One of the world’s most consistently provocative filmmakers for nearly 50 years, Catherine Breillat proves with her incendiary, compelling new drama that she is not through toying with viewers’ comfort levels. In Last Summer, Léa Drucker stars as Anne, a lawyer who specializes in cases of sexual consent and parental custody. Seemingly happily married to kind-hearted businessman Pierre (Olivier Rabourdin) with adopted twin daughters, Anne inexplicably finds herself drawn to Pierre’s estranged 17-year-old son Théo (Samuel Kircher) after the boy returns home to live with them. Embarking on a passionate affair with the teenager, Anne all too willingly thrusts herself into a maelstrom of attraction, intimidation, and manipulation. Breillat’s incisive screenplay—cannily altered from the Danish erotic thriller Queen of Hearts on which it’s based—elegantly surveys the situation’s extreme power dynamics while giving the brilliant Drucker the chance to create a character who exists entirely within her own moral boundaries. A Sideshow/Janus Films release. This conversation was moderated by NYFF Artistic Director Dennis Lim.

This week we’re excited to present a conversation with Music director Angela Schanelec following her film’s U.S. premiere in the Main Slate at the 61st New York Film Festival. Music opens at Film at Lincoln Center next Friday, June 28 with introductions by Doug Tielli, the singer-songwriter featured in the film, at the 6:15pm screenings on June 28 and 29. Get tickets to Music! Leading contemporary German filmmaker Angela Schanelec is singularly adept at creating dramas of unexpected catharsis via the most oblique narrative strategies. Her latest film, Music, pushes this approach to new levels of emotionality. Using abstract gestures and broad narrative ellipses, yet still managing to plumb the depths of its characters’ complicated traumas, Music tells the story of a young man and woman unknowingly united by the same violent death. Brought together by fate and horrible irony, Ion (Aliocha Schneider) and Iro (Agathe Bonitzer) first meet in prison, where he’s an inmate and she’s a guard; they kindle a romance fomented by passion for classical music and opera, followed by marriage and children. Yet as in all tragedies, the past returns to haunt them. Inspired by the Oedipus myth, Schanelec has created an alternately austere and vivid portrait of grief and redemption through art told with her distinctive compositional rigor. This conversation was moderated by NYFF Advisor Michelle Carey.

This week we’re excited to present a conversation with Film at Lincoln Center Assistant Programmer Madeline Whittle, as she discusses the films featured in FLC’s new series Angels and Puppets: The Stage on Screen with Annie Baker. A series of 17 films handpicked by acclaimed playwright Annie Baker that engage with theater as a cinematic theme, Angels and Puppets: The Stage on Screen with Annie Bakera runs from June 14-20 in anticipation of the release of Baker’s directorial debut, Janet Planet, on June 21. Get tickets to Angels and Puppets: The Stage on Screen with Annie Baker! Get tickets to Janet Planet! Many films in the series will be shown on 35mm and Baker will join us in-person for select introductions and Q&As, including a sneak preview of Janet Planet on June 20. Opening Night of the series will feature Louis Malle’s iconic collaboration with André Gregory and Wallace Shawn, My Dinner with André (1981) and Vanya on 42nd Street (1994), both presented on 35mm. Baker will also engage in a discussion with Shawn about each film’s perspective on theater as an art form and its translation to the big screen. The conversation was moderated by Erik Luers, FLC's Digital Marketing Manager.

This week we’re excited to present a conversation with Another End director Piero Messina from Opening Night of this year’s edition of Open Roads: New Italian Cinema. A melancholic, philosophical take on science fiction, Piero Messina’s ensemble drama contemplates a futuristic twist on the afterlife and its implications for those whom the deceased have left behind. Gael García Bernal stars as Sal, who has recently lost his partner Zoe in a car accident. When Sal’s sister Ebe (Bérénice Bejo) suggests he use a new technology to transplant Zoe’s memories into the mind and body of a stranger (Renate Reinsve), he finds himself confronted with a new opportunity to say goodbye to his love—but at what price? A rare blend of high-concept and deep feeling, Another End is a moving work on human connection in an increasingly virtual world. This conversation was moderated by FLC programmer Tyler Wilson.

This week we’re excited to present a conversation from the 61st New York Film Festival with Green Border director Agnieszka Holland, cinematographer Tomasz Naumiuk, and cast members Behi Djanati Atai & Joely Mbundu. This conversation was moderated by FLC Assistant Programmer Madeline Whittle. Green Border was a Main Slate selection of NYFF61 and will open in select theaters on June 19th. A Syrian family leaves the violence of their country behind, hoping to cross from Belarus into Poland and then onto the safe haven of Sweden. But, like so many lost souls, they end up caught in a political maelstrom, demonized by the Polish government and press and used as pawns in an inhumane, deadly border game. This harrowing, urgent drama from the veteran Polish director Agnieszka Holland constructs an intricate account of the contemporary global humanitarian crisis, expanding out to encompass the interconnected lives of security patrol officers, activist lawyers, and civilians who put themselves on the line for strangers. With the sobering and sometimes shocking Green Border, Holland reaffirms both her unyielding commitment to political filmmaking and the ability of immersive storytelling to illuminate the darkest corners of the world.

This week we’re excited to present a conversation with Over the Bridge director Tolu Ajayi from a recent Q&A at the Opening Night of the 2024 edition of the New York African Film Festival. Since its inception in 1993, the festival has been at the forefront of showcasing African and diaspora filmmakers’ unique storytelling through the moving image. In Over the Bridge, a man named Folarin is an accomplished investment banker with a beautiful wife and a life most people can only dream of. When a high-profile government project his company was hired to manage goes awry, he starts to question everything he’s ever known to be true. After going missing, he discovers himself in a remote fishing village and starts to put together the missing pieces—but will he ever find his way back home?

This week we’re excited to present a conversation with director Ryûsuke Hamaguchi, lead actor Hitoshi Omika, and composer Eiko Ishibashi from a recent Q&A for Evil Does Not Exist, an NYFF61 Main Slate selection currently playing in our theaters. Get tickets at filmlinc.org/evil Deep in the forest of the small rural village Harasawa, single parent Takumi lives with his young daughter, Hana, and takes care of odd jobs for locals, chopping wood and hauling pristine well water. The overpowering serenity of this untouched land of mountains and lakes, where deer peacefully roam free, is about to be disrupted by the imminent arrival of the Tokyo company Playmode, which is ready to start construction on a glamping site for city tourists—a plan, which Takumi and his neighbors discover, that will have dire consequences for the ecological health and cleanliness of their community. The potent and foreboding new film from Oscar-winning director Ryûsuke Hamaguchi (Drive My Car and Wheel of Fortune and Fantasy, both NYFF59) is a haunting, entirely unexpected cinematic experience that reconstitutes the boundaries of the ecopolitical thriller. Intensified by a rapturous, ominous score by Eiko Ishibashi, this mesmeric journey diverges from country-vs-city themes to straddle the line between the earthy and the metaphysical. An NYFF61 Main Slate selection. A Sideshow/Janus Films release. This conversation was moderated by FLC Vice President of Programming Florence Almozini.