Tag Archives: new york film festival

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NYFF59 Part 1: The Worst People

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Jesse
Jesse
Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.
Jesse
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I’ve been trying and failing to wrap my head around Bad Luck Banging or Loony Porn (Grade: C) and the enthusiastic reaction it’s received at New York Film Festival press screening sand elsewhere, wondering if I might have been more receptive had the content warnings before the movie not characterized it as a comedy. I admire its bizarre juxtapositions: It opens with graphic and unsimulated sex, in order to depict a leaked sex tape with maximum verisimilitude; it then follows Emi (Katia Pascariu), one of the tape’s participants, on a harried bunch of errands as she prepares for a hearing at the school where she teaches, the camera drifting through the COVID-affected spaces around her, eavesdropping on various phone calls; next, there’s an extended break for a wry illustrated glossary of various social and political terms; finally, an extended set piece in the form of the hearing itself, where a group of largely ridiculous parents air their grievances over Emi’s accidentally exposed private life.
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NYFF58 At-Home Dispatch #3: Michelle Pfeiffer, Scene-Stealing Cats, and More Steve McQueen

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Jesse
Jesse
Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.
Jesse
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The problem with doing festival dispatches more or less organized by your watch schedule is that you inevitably wind up feeling like you left something out. This year’s missed opportunity: When I caught up with The Woman Who Ran, it seemed like an obvious companion to The Calming. The latter, as covered here, is about a woman traveling around and retreating into solitude where she can find it. Hong Sang-soo’s The Woman Who Ran is about a woman (Kim Minhee) in a similar state, but with a more socially oriented structure: Spending time apart from her husband for the first time since they were married, she visits three different figures from her past. The scenes are long, chatty, sometimes awkward, and sometimes revealing; the best one only tangentially involves the lead character, as one of her friends has a polite but strained disagreement with a new neighbor about whether it’s reasonable for her to feed stray cats. (Great cat acting forms a punchline that somehow felt unexpected even though it’s the natural endpoint.) It’s less aesthetically pleasing than The Calming, as well as less, well calming, but it also generates some minor, compelling mysteries from these glimpses into the characters’ lives. (It’s also even shorter, at 80 minutes! Lots of below-90 runtimes in this year’s NYFF, as if the programmers knew viewers might be fitting in their viewings into an increasingly tricky jigsaw puzzle of at-home viewing.)
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NYFF58 At-Home Dispatch #2: Mangrove and Nomadland

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Jesse
Jesse
Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.
Jesse
Latest posts by Jesse (see all)

Neither Nomadland nor Mangrove are set right now, or even just before right now, in 2019, which is where I’ve mentally sorted any otherwise-very-contemporary stories that, naturally, do not feature multiple characters wearing masks and keeping their distance. Nomadland is specifically set during an election year that now feels like the distant past, taking place mostly over the course of 2012. Mangrove is a real-life courtroom drama that takes place in 1970. Yet–big sigh, deep breath, and then maybe another sigh–both of these New York Film Festival entries are plenty appropriate for our current moment, in ways that alternately seem complementary and diametrically opposed. Chloé Zhao’s Nomadland is all about our old friend “economic anxiety,” albeit treated with unusual gentleness, while Steve McQueen’s Mangrove is about the kind of racist, violent police harassment that has inspired countless protests in 2020. Both of them have plenty of opportunities to come across as hamfisted in one way or another, and both of them succeed in ways that are somehow both straightforward and oddly miraculous.
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NYFF58 at Home Dispatch #1: Lovers Rock, Fauna, and The Calming

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Jesse
Jesse
Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.
Jesse
Latest posts by Jesse (see all)

I’ve been attending the New York Film Festival for nearly a decade and, because of various scheduling factors and assignments, I’ve known it largely as a venue for splashy, high-end premieres of one sort or another. Even though many of the NYFF selections typically hit Cannes, Toronto, and/or Venice first, they’ll still, say, be the first place anywhere that shows Paul Thomas Anderson’s Inherent Vice, or Steven Spielberg’s Bridge of Spies, or Martin Scorsese’s The Irishman, under optimal conditions and maximum excitement. The Irishman is a perfect case in point, not just for the massive hype of a major fall movie shown for the first time, but for a more recent phenomenon: Last year especially, New York Film Fest became a go-to destination for catching movies that otherwise might not play on a big screen near you.

Of course, The Irishman and Marriage Story and the previous year’s Ballad of Buster Scruggs all did get theatrical engagements before their Netflix bows. But they were always tied up in uncertainty over which theaters would agree to Netflix’s shortened-window terms, and whether those theaters would give those movies anything better than token shoebox-auditorium engagements (Netflix seems semi-committed to theatrical releases for its prestige projects, but also reneges on promised splashiness like the thousands of screens that were supposed to show The Irishman). NYFF was a way for nervous cinephiles to make damn well sure they saw these movies on a big screen.

Now those concerns seem downright laughable. Wondering about whether a movie might play on big enough screens so that it might be experienced with a giant crowd of strangers? Ha, that’s pre-pandemic thinking, the concerns of a more innocent age! The New York Film Festival, like all but a very select few and foolhardy film concerns of the past six months, has moved online. The types of marquee features that might typically populate the opening, centerpiece, and closing slots have largely vacated the release calendar entirely, making a smaller, more streaming-friendly festival. Last year boasted the mid-fest world premiere of The Irishman. This year’s opening night? Part of a TV show Steve McQueen did for Amazon.
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NYFF57: The crime stories of MOTHERLESS BROOKLYN and OH MERCY!

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Jesse
Jesse
Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.
Jesse
Latest posts by Jesse (see all)

Though it was far from the most acclaimed film of this year’s main slate, it made sense for the 57th New York Film Festival to close with Motherless Brooklyn. The NYFF is the a major festival-season gathering that still feels a little bit local, and as such, has an unofficial but clear obligation to its hometown. That was evident in the opening night selection (Scorsese!), the centerpiece selection (Baumbach!), the quasi-secret screening (Safdies!), and a reoriented version of Motherless Brooklyn that takes place in the 1950s instead of the Jonatham Lethem novel’s then-contemporary 1990s.

Brooklyn had a particular weight on it this year because Martin Scorsese’s The Irishman, while set in a familiar Classic Scorsese milieu, is not actually a New York crime picture—it’s more of a tri-state area affair. Uncut Gems (as yet unseen by me) is legit NYC, but it wasn’t an officially announced main-slate attraction. So that leaves Edward Norton’s passion project as the crime movie representing New York City, playing alongside The Irishman (skulking around Philadelphia and New Jersey) and Arnaud Desplechin’s Oh Mercy! (set in the French city of Roubaix).
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