Film at Lincoln Center has written 386 reviews for films during 2019.

  • The Thing

    The Thing

    John Carpenter’s chilling (and sometimes hilarious) remake of the 1951 classic showcases some of the greatest practical effects of the ’80s. Led by Kurt Russell in top form, the staff of an Antarctic research outpost battles a shape-shifting alien lifeform in an atmosphere of escalating paranoia. Few directors can devise atmosphere as distinctly as Carpenter, who also contributed ideas to Ennio Morricone’s synth score, and whose use of minimal, claustrophobic spaces prove how location itself can become its own character.

    Playing on January 7 & 8, hand-picked by Bong Joon Ho, with The Host.

  • The Host

    The Host

    Bong followed his critically acclaimed Memories of Murder with this Seoul-set giant monster spectacle starring Song Kang Ho and Bae Doona. After an enormous amphibious mutant—rendered as alternately chaotic, lethal, and clumsy—emerges from the Han River and begins attacking the city, a young girl is carried away by the beast; in response, her family members do everything in their power to rescue her from its clutches. A high-concept disaster film and then some, The Host took inspiration from a real…

  • Cure


    With this unnerving work of slow-burn horror, Japanese auteur Kiyoshi Kurosawa took the now-familiar premise of the serial killer movie and spun it into a reflection on obsession and self control. A detective (Koji Yakusho) trailing a series of murders in Tokyo finds that a different person has confessed to each gruesome killing—an X has been cut into the throats of the victims. Yet none of them can explain their motives. Kurosawa eschews shock effects for something more hypnotic, keeping…

  • The Young Girls Turn 25

    The Young Girls Turn 25

    In 1967, Agnès Varda’s husband Jacques Demy transformed a seaside town into a candy-colored romantic vision in The Young Girls of Rochefort. Twenty-five years after the film’s release, Varda returned to Rochefort to convene a one-of-a-kind reunion: Catherine Deneuve, Jacques Perrin, composer Michel Legrand, and then-publicist Bertrand Tavernier revisit the streets that they imbued with a dreamy second life. Drawn to the town’s shape-shifting identity, Varda speaks with a wide swath of townspeople—including Rochefort’s now thirty-something child actors, local government,…

  • Lions Love

    Lions Love

    “It’s your story—you do it!” Lions Love (… and Lies), made in the late sixties during Agnès Varda’s first sojourn in California, was one of the director’s boldest, goofiest reckonings with the American counterculture. Warhol superstar Viva floats into a precarious ménage à trois with James Rado and Gerome Ragni, the lyricists of the musical Hair. Gleeful, unabashed disrobings; stretches of poolside drifting; visits from Eddie Constantine and Shirley Clarke; the TV announcements of the shootings of Andy Warhol and…

  • Cinévardaphoto


    Cinévardaphoto is made up of three short films (Ydessa, the Bears and etc., Ulysse, Salut les Cubains) connected by the theme of photography, the medium that gave Varda her start and spurred the meditations on memory that would define her career. First, she roams a Toronto-based curator’s exhibition of thousands of teddy bears and excavates the historical and personal roots of her quest. Then, Varda revisits models from one of her earliest photographs, probing the differences between their recollections of…

  • The Beaches of Agnès

    The Beaches of Agnès

    As she neared her 80th birthday, Agnès Varda was thinking of beaches: the fishing boats of her childhood in Sète, her walks with Jacques Demy on the shores of Noirmoutier, her late-sixties sojourn to the California coast. Following this thread, she collaged a poignant work of cinematic memoir. The Beaches of Agnès offers a remarkable glimpse of the history Varda lived through, spanning World War II, the Cuban Revolution, and the rise of the feminist movement in France; and it’s…

  • Faces Places

    Faces Places

    The 88-year-old Agnès Varda teamed up with the 33-year-old visual artist JR for this tour of rural France that follows in the footsteps of Varda’s groundbreaking documentary The Gleaners and I as it celebrates artisanal production, workers’ solidarity, and the photographic arts in the face of mortality. Varda and JR wielded cameras themselves, but they were also documented in their travels by multiple image and sound recordists. Out of all this often spontaneous movement, Varda and her editor Maxime Pozzi-Garcia created an unassuming, Oscar-nominated masterpiece that is vivid, lyrical, and inspiring. An NYFF55 selection.

    Playing on Dec. 24, 30 & Jan. 1.

  • The Gleaners and I: Two Years Later

    The Gleaners and I: Two Years Later

    Deeply humbled by the reception to her compassionate 2000 documentary The Gleaners and I, Varda returned to it two years later with this companion piece. She reconnects with several of the film’s subjects: from the potato farmers she first sought out as modern equivalents of the “gleaners” in Jean-François Millet’s paintings, to the marginalized Parisians foraging to survive by salvaging food and supplies from the city’s surplus of waste. As these people share highlights of the intervening years—some have found love, some have found minor celebrity status—Varda’s seemingly introspective exercise reveals itself as a moving work of humanism.

    Playing on Dec. 23 and Jan. 3.

  • The Gleaners and I

    The Gleaners and I

    “In times past,” Varda tells us at the start of this wondrous, humane reflection on the art of scavenging, “only women gleaned.” Urban dumpster divers; rural potato pickers; shoreline oyster collectors; a chef who picks his own stock; Rogier van der Weyden’s The Last Judgment; a brickmason who constructs eerie sculptures out of discarded dolls; Louis Pons’s collages; Étienne-Jules Marey, the inventor of “chronophotography”; vineyard grape pickers; the unfamiliar crevices of Varda’s own hand. The Gleaners and I is a…

  • Documenteur


    In 1979, 10 years after her first California sojourn and during a period of separation from her beloved husband, Jacques Demy, Agnès Varda returned to L.A. for what would turn out to be a decidedly more minor-key stay. Documenteur, like several of Varda’s movies, follows an essentially fictional character (played here by Varda’s editor Sabine Mamou) through a more or less real environment. Yet unlike most of Varda’s movies, it’s a frank and often painful reflection on estrangement, loneliness, and…

  • Mur Murs

    Mur Murs

    During the second of her two lengthy trips to L.A., Agnès Varda found a quietly brilliant way to depict her outsider’s perspective on the city’s convoluted social, racial, and economic tensions: filming its vast array of outdoor murals. The fiery, colorful public images splashed across the walls in Mur Murs—Afro-futurist vistas, imaginatively re-created historical pageants, visionary scenes from the Day of the Dead—were aesthetic joys and fascinating cultural objects for Varda, but they also occasioned rare opportunities to document their…