A wildly eclectic, cutting-edge and globe-spanning lineup has always epitomized New Director / New FilmsAnnual exhibition of emerging filmmakers presented by filmmakers at the Museum of Film and Modern Art at Lincoln Center. This year’s 50th anniversary edition is part of a citywide retreat for theaters, with in-person screenings from Wednesday to May 13. The event will also appear virtually (from May 8), along with an online retrospective announcement of selections from decades ago. Early works by directors such as Lee Chang-dong, Christopher Nolan and Charles Burnett were included.
I was shocked if one of the contestants of this year directed a Batman film in a decade. However, if I had to guess completely based on the dynamics of filmmaking, my vote would have gone to Indian director PS Vinothraj for his first film, “Pebble.” It is essentially a street film, about a young boy and his diabolical, drunken father who is forced to travel on foot in the drought-stricken mountainous regions of the Tamil country. Vinothraj intensifies the violence and oppressive nature of their relationship with great intensity – and their attenuation and infirmity and frightening visual ripples.
Apparently lighter tone, but no less tragic in its own way, the ideologically stunning festival opener, “El Planeta”, by the conceptual artist Amalia Ulman. Building on a lineage of delicate black and white comedy from Hong Sang-soo, Noa Bumbach and other directors, the film is anchored in the realities of Spain’s recent economic crisis. It appears as a series of vignettes, each one a chasm, seemingly a banal snapshot of the life of a mother and daughter – between the two, in the northern Spanish city of Gizon. With their fur coats and fancy dinners, both women are driven to glamor and success in the hope that they will ignore the breathtaking threat of eviction, spending money on frivolities instead of paying bills. Uleman, the writer-director who also stars (as opposed to her actual mother), slowly unravels about the troubles of women, which relieve poverty in the usually garishly insulting, blatant manner of forcefully received Huh.
Overall, the program is particularly keen to eradicate a monolithic view of womanism. “Madlena”, by Brazilian director Madiano Marchetti, is a triplet meditation on the death of a transgender woman, culminating in a beautifully queued communique at a bitwhite gathering of friends. The “Dark Red Forest” by the Chinese documentary Jin Huang clearly captures the hard-core dedication of Tibetan nuns on a cold, sobering retreat to the other side of the world.
Three films about older women stand out: Einho Rodríguez’s exquisite somber “Destello Bravo”, about a group of women trapped in a dead-end Spanish city with their idiotic male counterparts. His gloomy routines, however, are interrupted by the bursting of sensuous sexuality, the uncertainty of his repressed desires manifest. From South Korea comes an unconventional #MeToo story from director Kim Mi-jo: “Gal,” an informal drama that explores how age and class can make the pursuit of justice more complex for victims of rape.
I was particularly taken by Jonas Buck’s gentle character study “Wood and water,Which pairs surprisingly with Chantal Akerman’s “The Meetings of Anna”, a film in retrospective program that is also about a solitary female traveler. A retired church secretary in Germany (played by filmmaker’s mother, AK Baek) goes to Hong Kong to meet her iconic son, though his frequent absence – even if she is living in his apartment – leads him to explore the city Forces it. on one’s own. Despite the backdrop of mass protests, this is not a very spectacular film; Perhaps this is why it successfully survives the cliché of a white woman “finding” herself in a foreign land. Instead, it is in brief encounters, small talk and the unwilling hurt that our heroine comes to life.
“El Planeta,” like James VaughanFriends and strangers“I was very angry at its dry and jovial inattentiveness. Set in and around Sydney, it begins as a kind of anti-romantic comedy, with a chance meeting between two twenty-somethings that leads to a camping camping trip. The film then becomes a lot more awkward and more funny as part two and we are familiar with their small, interconnected worlds of awkward dialogue and robbery ignorance. This mumblecore is par excellence, but White is infuriated with Australia and its historical amnesia.
In fact, the ghosts of colonialism once again have many meaningful titles: the terrible Dominican drama “Liborio,” By Nino Martinez Sosa, inscribing the figure of the indigenous Christ against a spiritual leader and an American military presence; Jessica Bashir’s “Faya Daya,” is a fictional and visually dazzling and white documentary, which assumes the toll of the Ethiopian khat trade on a rural community for generations. (The country is the world’s largest exporter of Khata, an addictive drug, a chewing leaf with amphetaminal properties.)
“Azor,” The brilliantly lavish debut by Swiss director Andreas Fontana is deliberately insincere, with a double meaning to extensive obsolescence and polite dialogue. Think of John Le Carre and Francis Ford Coppola, but during the infamous “dirty war” of the 1970s, the Swiss banking elite and Argentina were set in the world of high society. Come to stay for modern personality and modern capitalism and its ivory-tower movers and shakers, personal personalities and consistent tailored suits.
From Nigeria, but the crowd that defines the film industry of the country, nothing like microbudgut productions. “IMoofe (this is my wish)Is a social drama. Directed by twin brothers Ari and Chuko Essiri, this comprehensive portrait of Lagos is divided into two parts: first, a middle-aged engineer is immersed in bureaucratic hell as he struggles to pay his debts after a tragedy. Does; In another, a young woman tries to maintain her autonomy while caring for her pregnant sister and a man who commits a frightening suicide. The protagonists of both parts are united by their desperation to secure the passport – the dream of escape hangs over them, while the complexities of Lagosian life are captured with sympathy and resounding resignation.
At the climax of the event, director Fern Silva has a psychedelic mixtape from a film, “Rock bottom riser“An assembly of unsatisfactory moments, the film builds up to an ethnographic and ecological sketch of Hawaii. However, hypnotizing shots of bubbling magma create a tension between the island’s traditions and the commercializing forces of American tourism. It Dense stuff, but Silva is not without a sense of humor (see: an EDM-created smoking ring enthusiast intermittently at a rape shop).
Keeping in mind the festival’s half-century of life, I began to think of two films in the program that would have been unimaginable a few decades earlier, submerged and informed as they are by the techniques of modern life.
The first is Jane Jenornbrunn’s debut film, “We’re All Going to the World’s Fair,” a fitting tribute to the mysteries of online culture that are uniquely associated with the types of intimacy and solace found in its intimate trenches. This is followed by Theo Anthony’s reviving closing night film, “All Light, Everywhere,” a visual essay about perception – in the most basic sense. What are we watching? How are we watching? What constitutes a reliable gaze? The film is a comprehensive, widely disturbing examination of surveillance, ranging from the origins of photography to social media tracking and body-cams currently used by law enforcement. Truth, according to Anthony, is always interfered with deception, undermining our claims for fairness. Perhaps all we can do is constantly expand our frame of reference to work.
New Director / New Films
Runs from May 13 through Wednesday at Lincoln Center and Wednesday through May 8 through Virtual Cinema. Go for newdirectors.org for more information. Please consult guidance Outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.