DAILY | NYFF 2012 | Index
Your guide to what the critics are saying about the films in the 50th anniversary edition.
It’s only natural, since the New York Film Festival is celebrating its 50th anniversary edition this year, that overviews such as A.O. Scott‘s in the Times and Nick Pinkerton‘s in the Voice would begin by looking back at the first NYFF in 1963. It was a helluva lineup. Luis Buñuel‘s Exterminating Angel, Chris Marker‘s Le Joli Mai, Roman Polanski’s Knife in the Water, Alain Resnais’s Muriel… The most fun way of scanning it is to scroll up and down Adrian Curry‘s Notebook collection of posters for 19 of the 21 features.
Adrian‘s also got another batch for this year’s edition, which boasts 33 features in the Main Slate. As the titles below turn into to links, they’ll take you to summaries of the latest reviews; some of them have earlier entries, marked with the names of the festivals they’ve come from. I look forward, too, to adding entries on films lined up for Views from the Avant-Garde, Midnight Movies, and the truly tantalizing programs Cinéastes/Cinema of Our Time, Men of Cinema: Pierre Rissient and the Cinema Mac Mahon, and Cinema Reflected.
Noah Baumbach’s Frances Ha. Telluride and Toronto.
Alan Berliner‘s First Cousin Once Removed.
Rama Burshtein’s Fill the Void. Venice and Toronto.
David Chase’s Not Fade Away.
Brian De Palma’s Passion. Venice and Toronto.
Antonio Méndez Esparza’s Here and There.
Song Fang’s Memories Look at Me.
Joachim Lafosse‘s Our Children.
Jun Robles Lana’s Bwakaw.
Ang Lee’s Life of Pi.
Noémie Lvovsky’s Camille Rewinds.
Roger Michell’s Hyde Park on the Hudson.
Dror Moreh’s The Gatekeepers.
Cristian Mungiu’s Beyond the Hills. Cannes.
Sally Potter’s Ginger and Rosa.
Javier Rebollo’s The Dead Man and Being Happy.
João Pedro Rodrigues and João Rui Guerra da Mata’s The Last Time I Saw Macao.
Valeria Sarmiento’s Lines of Wellington. Venice and Toronto.
Yeşim Ustaoğlu’s Araf – Somewhere In Between.
Marc-Henri Wajnberg’s Kinshasa Kids.
Robert Zemeckis’s Flight.
Steven Spielberg’s Lincoln.
We’re gathering reviews of all the films in the program here.
Rodney Ascher’s Room 237.
Barry Levinson’s The Bay.
Update, 10/16: Criticwire‘s polled its contributors, and Steve Greene introduces the results. Categories: Best Film, Best Documentary, Most Disappointing Film, Best Lead Performance, and Best Supporting Performance at this year’s edition.
For news and tips throughout the day every day, follow @KeyframeDaily on Twitter and/or the RSS feed. Get Keyframe Daily in your inbox by signing in at fandor.com/daily. And just for fun, we’re tumbling, too.