26 Movies We Can’t Wait to See at the New York Film Festival

The 63rd New York Film Festival begins on Friday, September 26th, bringing some of the year’s most acclaimed movies to New York City. If you missed them at other festivals, now’s your chance to see favorites like Mary Bronstein’s intense drama *If I Had Legs I’d Kick You*, Ira Sachs’s more relaxed *Peter Hujar’s Day*, Kelly Reichardt’s *The Mastermind*, Joachim Trier’s *Sentimental Value*, Kleber Mendonça Filho’s *The Secret Agent*, and Jafar Panahi’s award-winning *It Was Just an Accident*. Films from Venice, like Luca Guadagnino’s *After The Hunt* and Kathryn Bigelow’s *A House of Dynamite*, will also be shown. The festival’s biggest premiere is Bradley Cooper’s *Is This Thing On?*, a comedy starring Will Arnett. With a diverse lineup ranging from Scott Cooper’s *Springsteen: Deliver Me From Nowhere* to Lav Diaz’s lengthy *Magellan*, the New York Film Festival at Lincoln Center offers something for everyone over the next few weeks.

After the Hunt

Luca Guadagnino’s latest film is sparking debate, particularly around the topic of cancel culture. The story centers on Julia Roberts, who plays a highly respected professor whose world is turned upside down when a colleague (Andrew Garfield) faces accusations of misconduct involving a student (Ayo Edebiri). Initial reactions from the Venice Film Festival were varied, and interviews with the cast were noticeably awkward – so much so that some wondered if it was intentional, though reports suggest it wasn’t. Even when his films don’t fully succeed, Guadagnino excels at challenging his actors, and this one is generating a lot of buzz because of that.

Anemone

Honestly, I never bought Daniel Day-Lewis’s retirement announcement, and I think you shouldn’t have either! After eight years since *Phantom Thread*, he’s back – and it’s for his son Ronan’s first movie as a director. They’ve co-written a really intense story about two estranged brothers, played by Day-Lewis and Sean Bean, trying to mend things despite some seriously dark history. The trailers show Day-Lewis at his absolute best – that intense, captivating performance we all love – and it’s hard not to get excited about seeing such a legendary actor get another great role. It’s worth noting he’s spent the last twenty-plus years working with directing giants like Spielberg, Anderson, and Scorsese, so there’s a lot of pressure on Ronan as a first-timer. But I’m genuinely thrilled to see what he’s done – it’s a really exciting project!

Dracula and Kontinental ‘25

Choosing the best filmmaker today is tough, and my answer varies, but Radu Jude consistently impresses me. He creates work that is sharp, funny, thought-provoking, and brilliantly captures the strangeness of modern life while still connecting it to history. Jude has two films at this year’s festival. *Dracula* is a complex, multi-layered movie about two actors escaping a cheesy tourist show and a director using artificial intelligence to rework a vampire story. *Kontinental ‘25*, also set in Transylvania, focuses on a bailiff, played by Eszter Tompa, who must evict a homeless man from an apartment building. -Alison Willmore

The Fence

Claire Denis’s latest film, *The Fence*, received a varied response after its premiere at the Toronto International Film Festival earlier this month. Based on a play by Bernard-Marie Koltès, the film revisits themes of colonialism in Africa – a subject Denis often explores – and stars Isaach de Bankolé. The story centers on Horn (Matt Dillon), a foreman at a construction site in West Africa, and Alboury (de Bankolé), who arrives at the site’s guarded entrance one night requesting the body of his brother, who reportedly died in an accident. However, the simple request suggests a darker truth. The film also features rising stars Mia McKenna-Bruce as Horn’s young wife and Tom Blyth as his unpredictable supervisor. –AW

Gavagai

Ulrich Köhler’s latest film draws comparisons to the work of Claire Denis. Titled *Gavagai*, it centers on a Senegal-based production of Euripides’ play, where actors Jean-Christophe Folly and Maren Eggert portray Jason and Medea both on screen and in a complicated off-screen romance. Nathalie Richard plays the director, a highly stressed character clearly inspired by the French filmmaker herself. -*AW*

A House of Dynamite

Kathryn Bigelow’s new thriller, which premiered at the Venice Film Festival, is a stunning return for the director. The film follows a nuclear missile threatening the U.S., and it’s a fast-paced, gripping watch. Since it’s coming to Netflix, try to see it in theaters while you can. Beyond the exciting action, the movie is a surprisingly bleak look at the dangers of nuclear weapons and portrays dedicated professionals struggling with a situation they can’t fully control. It would pair well with a showing of *Oppenheimer* – though be prepared for a heavy emotional experience. -Bilge Ebiri

Is This Thing On?

Bradley Cooper’s latest film, *Is This Thing On?*, might seem different from his previous movies, *A Star Is Born* and *Maestro*, which were big, musical stories. This new film dives into the world of New York City stand-up comedy. However, like his earlier work, *Is This Thing On?* still explores troubled relationships and the challenges of pursuing your passions. The film stars Will Arnett as a recently divorced man who tries his hand at comedy, with Laura Dern playing his ex-wife. Cooper himself makes an appearance, seemingly playing a version of comedian Marc Maron. While stories about comedians aren’t new, Cooper consistently delivers emotionally powerful and well-crafted films. He films Arnett with intense close-ups, revealing every worry and setback on his face. -Fran Hoepfner

It Was Just an Accident

Jafar Panahi’s latest film, winner of the Palme d’Or at Cannes, doesn’t feature him as an actor, but it’s deeply informed by his own experiences with imprisonment and mistreatment. *It Was Just an Accident* is a darkly comedic story about Vahid, who impulsively kidnaps a man he believes is the intelligence agent who tortured him. Though he never saw his tormentor’s face, Vahid’s uncertainty leads him to repeatedly ask others for confirmation, eventually filling his van with both the hostage and other people struggling with their own anger and trauma. The film is powerfully angry, but at its core, it’s a moving exploration of the search for closure and the difficult balance between seeking revenge and upholding one’s principles.

La Grazia

Paolo Sorrentino, known for his outlandish and often bizarre films about Italian politics, takes a different approach with this new movie. It’s a quiet, thoughtful story about Mariano De Santis, a fictional Italian president and former judge, as he nears the end of his time in office and grapples with difficult decisions. Feeling isolated by the presidency, De Santis attempts to connect with the world outside to help him determine the best course of action. The film explores how power can create a bubble and lead to inaction, but it’s also a portrait of a genuinely good, considerate, and honest leader. Despite its subtlety, it might be Sorrentino’s most strangely compelling film yet.

Magellan

Lav Diaz’s new film, *Magellan*, a 160-minute biopic about Ferdinand Magellan, might be his most approachable work yet. Diaz is known for his slow-paced, visually static films – similar to those of Apitchatpong Weerasethakul – but *Magellan* is a sweeping look at the violence and colonial impact of Magellan’s arrival in the Philippines. Gael García Bernal plays Magellan, portraying him not as a cruel villain, but as a flawed man driven by ambition and faith. The film depicts Magellan’s voyages alongside the stories of two indigenous communities struggling to protect their cultures during a turbulent time. *Magellan* is a stunning and captivating epic – a truly memorable cinematic experience.

The Mastermind

Kelly Reichardt’s new film appears to be a heist story, but it’s actually a much more nuanced and moving exploration of American life. Josh O’Connor delivers a compelling performance as a frustrated father in the 1970s, navigating marriage, rambunctious sons, and the backdrop of the Vietnam War. He attempts to solve his financial problems by stealing paintings from a local museum, but things quickly fall apart. While the film has moments of humor, it’s largely a somber and reflective piece, subtly addressing current political issues by looking back at America’s history. At the Cannes Film Festival, Reichardt expressed her concern about the U.S., urging international audiences not to lose hope. –Rachel Handler

Mr. Scorsese

This year’s New York Film Festival is a special event for Rebecca Miller and Daniel Day-Lewis. Their son, Ronan, is starring in his first film as a director, Anemone, which is being shown at the festival. Meanwhile, Miller is presenting her five-hour documentary about Martin Scorsese. (It’s a good thing they could all travel together!) The documentary is essential viewing for Scorsese fans, featuring new interviews with those who have worked with and known him, and will also appeal to anyone who loves film. It will be available on Apple TV+ this fall, but audiences can see the full version on the big screen at NYFF. Like Scorsese’s films, Miller’s documentary is expansive yet intimate, focusing on both local stories and broader themes, and filled with complex characters – both flawed and virtuous. –FH

No Other Choice

Director Park Chan-wook’s new dark comedy explores themes of unemployment and the downsides of modern business. It was well-received at the Venice and Toronto film festivals. Park has become known for blending genres in his recent work, as seen in films like the noir *Decision to Leave*, the historical drama *The Handmaiden*, and the stylish horror *Stoker*. *No Other Choice* is his most comedic film yet, and it really connects with audiences. Lee Byung-hun plays Man-soo, a middle-aged man who loses his job and struggles to maintain his lifestyle. Yeom Hye-ran delivers a particularly memorable performance as a frustrated wife whose life becomes intertwined with Man-soo’s in unexpected ways. -*JR*

Nouvelle Vague and Blue Moon

It’s easy to overlook just how good Richard Linklater is. He recently made a fantastic film, *Hit Man*, and has two more significant projects on the way, but he doesn’t seem to be getting much attention. Both new films were well-received at film festivals. *Nouvelle Vague* playfully mimics the style of the French New Wave while still feeling distinctly like a Linklater film, and *Blue Moon* has been highly praised – Andrew Scott won a Best Supporting Actor award for it at Berlin, and it stars Ethan Hawke as the iconic songwriter Lorenz Hart, just before the debut of *Oklahoma!* in 1943. While Linklater’s films have had varying degrees of success, he seems to be entering a particularly strong period in his career, and it’s definitely worth noticing. -BE

Nuestra Tierra

Lucrecia Martel’s documentary, *Nuestra Tierra*, explores the historical mistreatment of Argentina’s indigenous people – a theme she’s addressed in her fictional films. The film centers on the trial following the death of Javier Chocobar, a member of the Chuchagasta community, who was killed while trying to protect his community’s land from a powerful landowner and security forces. *Nuestra Tierra* meticulously documents the trial, using it as a starting point to examine the region’s history and how the Chuchagasta people have been systematically stripped of their land and rights through bureaucratic processes. A particularly striking element of the film is its use of drone footage, which Martel employs to create a detached, almost godlike perspective on the injustices unfolding below. -AW

Peter Hujar’s Day

Ira Sachs is a talented filmmaker known for his relationship stories, and his newest film is no exception. It closely follows a fascinating 1974 interview between photographer Hujar (played brilliantly by Ben Whishaw) and journalist Linda Rosenkrantz (a quietly compelling Rebecca Hall), recounting a single day in Hujar’s life. The film beautifully captures the vibe of 1970s New York City, but more importantly, it creates a deeply intimate and captivating connection between the two characters – making it one of the most memorable films of the year. -BE

Put Your Soul on Your Hand and Walk

Sepideh Farsi’s documentary gained unexpected attention at the Cannes Film Festival after its subject, 25-year-old Fatma Hassona, tragically died with her family in an Israeli airstrike just weeks before the festival. The event served as a sobering reminder that even amidst glamorous events like film festivals, the harsh realities of the world continue. Farsi’s film reflects this sense of powerlessness; unable to travel to Gaza, she created the documentary through video calls with Hassona, whom she never met in person. The film’s simple and direct approach underscores the stark reality it portrays.

Rose of Nevada

I witnessed something really unusual at a screening of Mark Jenkin’s last film, *Enys Men* – the audience completely shifted against it, which I’d never seen before. Both that film and his new one, *Rose of Nevada*, fall into the ‘folk horror’ category, but Jenkin avoids typical jump scares. In *Enys Men*, the scariest thing was actually a flower! He’s back with *Rose of Nevada*, and it feels like his most ambitious work yet. It stars George MacKay and Callum Turner as fishermen who take on a job on a boat with a mysterious past – it vanished for thirty years and returned with no one aboard. Jenkin’s style is really unique – it’s clever, visually stunning, and shot on beautiful 16mm film. There’s a real, almost tactile quality to his films; everything feels weathered and real. They draw you in, but it takes courage to fully immerse yourself in his world.

Sentimental Value

Joachim Trier and Eskil Vogt have a remarkable ability to portray the inner worlds of women. Their film recently earned the Grand Prix at the Cannes Film Festival, and it’s another stunning exploration of what it means to be a woman – tackling themes of family, relationships, heartbreak, and creativity. Starring Renate Reinsve (in her second collaboration with Trier), the visually beautiful film – bathed in sunlight and a sense of nostalgia – features incredible performances from Reinsve, Stellan Skarsgård as her emotionally unavailable father, and Inga Ibsdotter Lilleaas as her loving sister. It’s a deeply moving experience; I found myself crying throughout much of the movie. –RH

Scarlet

Mamoru Hosoda’s newest film, *Scarlet*, is an exciting fantasy adventure inspired by Shakespeare’s *Hamlet*, but with a twist – the main character is a princess. When Princess Scarlet’s father is killed by her uncle, who takes over the kingdom, she vows to avenge him. However, her attempt fails, and she ends up dying as well. She finds herself in “Otherworld,” a vast and dangerous afterlife filled with outlaws, lost souls, and followers of her uncle, who is also there. Scarlet’s quest for revenge takes her beyond life and death until she meets Hijiri, a modern-day Japanese paramedic. Hijiri joins her journey and gradually helps Scarlet realize there might be a better path than endless violence. *Scarlet* is considered some of the director’s best work, following his critically acclaimed films *Mirai* (2018) and *Belle* (2023). -*Eric Vilas-Boas*

The Secret Agent

Kleber Mendonça Filho’s new film, The Secret Agent, won both the Best Director and Best Actor awards (for Wagner Moura) at Cannes. Set in Recife – the same city featured in his previous film, Pictures of Ghosts – during the 1970s Carnival, the movie follows a former teacher trying to escape his past under Brazil’s dictatorship. While it shares elements with a spy thriller, The Secret Agent, much like Filho’s Bacurau, playfully subverts the genre, incorporating detours, memorable supporting characters, and unexpected shifts in mood. The film’s opening credits describe the era as “a time of great mischief,” a description that also fits the experience of watching any of Filho’s work. –FH

Sound of Falling

I was completely blown away by Mascha Schilinski’s latest film. It follows women across four generations living in the same farmhouse, and it feels like their lives are echoing each other – they share these intense, almost primal experiences. We see them grappling with dark desires, facing abuse, and finding strength in their connections with each other. It’s not a movie that tells a story in a traditional way; it’s more like a beautiful, haunting dream, a really long and evocative poem. Honestly, Alison Wilmore might be right – it could be the best thing at Cannes this year, and it definitely deserved that Jury Prize it shared.

Springsteen: Deliver Me From Nowhere

It feels a bit calculated that 20th Century Studios is releasing a Bruce Springsteen biopic so soon after Searchlight Pictures’ successful Bob Dylan documentary, but it’s hard to complain when it comes to The Boss. The project is exciting, especially with Jeremy Allen White (from *The Bear*) playing Springsteen during the writing of his album *Nebraska*. Director Scott Cooper previously earned Jeff Bridges an Oscar nomination for *Crazy Heart*, raising hopes for White, though he doesn’t yet have Bridges’ established reputation. The film boasts a strong supporting cast, including Jeremy Strong as Springsteen’s manager, Stephen Graham as his father, and Marc Maron as his producer.

Stiller & Meara: Nothing Is Lost

Who could be better suited to document the lives of comedy legends Jerry Stiller and Ann Meara than their son, Ben Stiller? The film reportedly uses a wealth of family footage, which is a smart move. While Jerry and Ann were incredibly popular in their time, many younger viewers aren’t familiar with their work, so seeing them at their peak is crucial. And Ben Stiller is a talented director – despite his last film, *Zoolander 2* from 2015, he’s also responsible for comedies like *Tropic Thunder*, *The Cable Guy*, and the first *Zoolander*, making this documentary definitely worth watching. -BE

2025-09-23 20:59