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NYFF Roundup and More

  • In anticipation of the fifty-fourth annual New York Film Festival, opening tonight, Indiewire has surveyed the must-see films playing in the revivals section, including Gillo Pontecorvo’s The Battle of Algiers, Tomás Gutiérrez Alea’s Memories of Underdevelopment, and Edward Yang’s Taipei Story.
  • For the Los Angeles Review of Books, Madeleine Dobie examines the enduring political resonance of Pontecorvo’s masterpiece, which celebrates its fiftieth anniversary this year: “If cultural historians and film scholars typically dwell on The Battle of Algiers’s Marxist and third-worldist currents, security professionals are drawn to its portrayal of the dynamics of insurgency and counterinsurgency.”
  • The cover of this week’s Village Voice features French cinema icon Isabelle Huppert, who will appear in person at NYFF in support of Mia Hansen-Løve’s Things to Come and Paul Verhoeven’s Elle. Critic Melissa Anderson writes, “Any film starring Huppert bears her authorial stamp as much as that of its director.”
  • Mark Peranson also highlights Huppert in his editor’s note in the latest issue of Cinema Scope: “She has clearly reached the point where she has become an axiom of the arthouse cinema. I’d like to see her direct some day, but, in her own way, she does enough directing as it is.”
  • Watch the new trailer for Olivier Assayas’s Personal Shopper, a standout selection in the NYFF main slate:

  • Film Society of Lincoln Center deputy director Eugene Hernandez shares his favorite New York City theaters, restaurants, and shops with Architectural Digest.
  • The BFI takes a look at the idiosyncratic punctuation choices found in film titles such as Dont Look Back, Adaptation., and Drive, He Said.
  • Over at MUBI, Adrian Curry showcases a variety of illustration styles in Marx Brothers film posters from around the world.
  • In a conversation with John Lurie for Interview magazine, Parker Posey talks about the book she’s currently writing, auditioning for Woody Allen, and her love for Criterion.
  • For Reverse Shot’s Agnès Varda symposium, Eric Hynes explores the director’s 1969 film Lions Love (. . . and Lies), “a staged documentary about a performance of events and ideas and attitudes that were very real to 1968. It could hardly matter less whether or not the film was good, or ‘worked’ in any traditional sense. It’s a film of its moment, but also consciously about that moment, and comprised of moments both related and unrelated, captured and made.”
  • Film Comment’s weekly podcast turns the spotlight on classic cinema and its influence on a new generation of moviegoers:

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