14 Must-See Films At The New York Film Festival - Page 2 of 3

The13thThe 13th
If nothing else, Ava DuVernay’s “The 13th” will have the distinction of being the very first documentary to open the New York Film Festival. But given that it’s DuVernay, a deeply compelling filmmaker, and a documentary, her early vocation, there’s every reason to pay attention. And you really should. “The 13th,” a scathing critique of America and the 13th Amendment—the abolition of slavery except for those that commit crimes—is a simply-told but searing document of pervasive racism in the United States and how slavery, systematic oppression, and criminalization are just extensive manifestation of post-slavery oppression. DuVernay takes to task the industrial prison complex, several presidents and their biased policies (including Bill Clinton) and the built-in racism and prejudice in America that is embedded in the fabric of the country. If you’ve ever had a relative who scoffed at the notion of Black Lives Matter, “The 13th” isn’t likely going to be a doc that they watch, but on the off chance you can force them to view the film, it intelligently unpacks, with unfussy, and cogent brio, one of the strongest and scariest arguments for the continued oppression that haunts america

mahershalala-ali-moonlightMoonlight
We haven’t seen much from filmmaker Barry Jenkins since 2008’s undersung “Medicine For Melancholy, but thankfully he spent his time mastering “Moonlight,” a film critics are calling “soulful and heartbreaking” (read our review). The film, produced by Brad Pitt and his Plan B productions, follows Chiron, a gay black man in Miami, as he finds himself, love, and his sexuality. The film is broken up into 3 chapters that chronicle Chiron’s life from childhood to adulthood, while a singular beautiful vision ties the chapters together. It’s hard not to empathize with a character facing so much tribulation including racism, homophobia, and a mother with a substance abuse issue, but Jenkins perfectly executes the high and low points so you feel Chiron’s emotions with him. With an outstanding ensemble cast that includes Naomie Harris, André Holland, Mahershala Ali, Janelle Monáe, Alex R. Hibbert, Jaden Piner, Ashton Sanders, Trevante Rhodes, and Jharrel Jerome, this film has Oscar written all over it.

Toni-Erdmann_Sandra-Hüller-as-Ines-@-Komplizen-Film,-Courtesy-of-Sony-Pictures-ClassicsToni Erdmann
Once in a while a film comes along that is utterly painful to watch. Not because of any violent or gory scenes, but because of how relatable and awkward the characters are. “Toni Erdmann” is that film. In this German dramatic comedy, writer/director Maron Ade taps into the uncomfortable tension between a daughter and her estranged father while managing to make you laugh out loud along the way. You’re first introduced to Ines (Sandra Huller) whose life is about to turn upside down after a surprise visit from her father, Winfried (Peter Simonischek). Using a bizarre disguise and backstories, Winfried stays in his daughter’s life dressed as a woman named Toni Erdmann. Throughout the film, he tries to insert some joy and humor into Ines’ otherwise mundane and seemingly depressing life. These attempts include everything from whoopie cushions (which he swears he doesn’t have) to handcuffing the two of them together for the day. Watching this film will make you laugh, cry, and probably feel the need to call your dad afterward.

Paterson, Adam Driver, Jim Jarmusch 7Paterson
With “Paterson” Jim Jarmusch has brought us another distinctly Jarmusch-esque film. Paterson, both the name of both the main character (Adam Driver) and the New Jersey town he lives in, is markedly unique throughout. Driver himself plays a bus driver with a secret passion for poetry that he writes in a notebook throughout his shifts. His stay-at-home wife Laura (Golshifteh Farahani) is the picture of domestic Stepford-y perfection. Both of them seem content with the boring nature of their life and marriage, which makes them one of the most pleasant couples ever put on film. Everything about the film is nice. The characters, the town, the poetry, the cinematography. In some regards, the film isn’t trying to say anything, necessarily deep, but Jarmusch can’t help but create divine sublime and subtle observations from the life of working-class man leading a perfectly typical life and the world around him (for a Jarmush two’fer, also catch his exhilarating Stooges doc “Gimmie Danger”).Casey Affleck and Michelle Williams in Manchester by the Sea (2016)

Manchester By The Sea
Although there are only two other entries on it, Kenneth Lonergan’s filmography is a difficult one to contest. Both 2000’s “You Can Count On Me” and 2011’s “Margaret” have been heralded as triumphs — extremely empathetic films just bursting with heart and melodrama, and keen on relationships. That his latest, “Manchester By The Sea” has only taken half the time lapsed between his past two features to make should be celebrated as it finally hits Lonergan’s hometown of New York after being lauded at major festivals such a Sundance, Telluride, and Toronto. Set in the titular town on the coast of Massachusetts, it follows the unexpected and unwanted guardianship of a teenage boy by his uncle after the death of his father. With an extremely talented cast not unfamiliar with awards reception, including Casey Affleck, Michelle Williams, Kyle Chandler, Matthew Broderick, and the young but not entirely untested Lucas Hedges (who stood his own opposite Christoph Waltz in 2014’s “The Zero Theorem”), as well as a premise that screams heartbreak and emotion (right up his alley it seems), the unbelievable critical reception, and even Oscar talks, seems inevitable.