Tribeca 2022

Michael Mann, Al Pacino, and Robert De Niro on the set of Heat (1995)

For many, Thursday and Friday, June 16 and 17, will be the big nights at this year’s Tribeca Film Festival. On Thursday, New Yorkers will have to choose between, on the one hand, a screening of Kasi Lemmons’s southern Gothic classic Eve’s Bayou (1997), followed by a conversation with Lemmons, producer Cotty Chub, and actors Meagan Good and Lynn Whitfield; and on the other, a presentation of the new fiftieth anniversary restoration of Francis Ford Coppola’s The Godfather, which will be preceded by a chat with Al Pacino, who, of course, delivered one of American cinema’s all-time great performances as Michael Corleone.

On Friday, Pacino will be joined by Robert De Niro, director Michael Mann, and producer Art Lindon for a conversation moderated by critic Bilge Ebiri following a screening of Heat (1995). Catching that event, though, would mean missing out on director Todd Haynes, producer Christine Vachon, and actors Ewan McGregor and Micko Westmoreland’s postscreening discussion of Velvet Goldmine (1998). Tough choices will face attendees throughout the festival’s presentation of more than a hundred new features, plus shorts, new series, live music, talks, masterclasses, games, and virtual reality experiences.

The staff at IndieWire has written up fifteen highlights, including There There, the seventh feature from Andrew Bujalski (Funny Ha Ha, Computer Chess, Support the Girls). The new comedy stars Jason Schwartzman, Lili Taylor, Lennie James, and Molly Gordon and features musical interludes performed by Jon Natchez. Cynthia Lowen’s Battleground focuses on three women determined to overturn Roe v. Wade, while Alexandre O. Philippe (78/52: Hitchcock’s Shower Scene) maps the influence of The Wizard of Oz on the work of David Lynch in Lynch/Oz.

Joachim Back won an Oscar for his short film The New Tenants (2009), and his first feature is Corner Office, starring Jon Hamm as what IndieWire’s David Ehrlich calls “a pathologically fastidious stooge—with a honkin’ mustache and a sad pair of glasses—whose only purpose in life is to be a good employee and climb the corporate ladder.” Talking to Seija Rankin in the Hollywood Reporter, Hamm says that Corner Office “digs into the idea of who you think you are versus what you’re presenting to the world.”

Dan Schindel previews a batch of documentaries at Hyperallergic. In After Sherman, Jon Sesrie Goff “employs a panoply of techniques, including sporadic animation and archival materials, to explore his hometown and the land that his family has owned since they purchased it over a century ago, shortly after the emancipation of enslaved people in the U.S. . . . The film’s ‘oppositional gaze’ studies what has and hasn’t changed over the painfully long arc of history.”

Women and Hollywood has been interviewing female directors with films in the lineup. Jennifer Tiexiera and Camilla Hall say that their new feature, Subject, “explores the life-altering experience of sharing one’s life on screen through the participants of five acclaimed documentaries”—namely, Steve James’s Hoop Dreams (1994), Andrew Jarecki’s Capturing the Friedmans (2003), Jehane Noujaim’s The Square (2013), Crystal Moselle’s The Wolfpack (2015), and Jean-Xavier de Lestrade’s The Staircase (2004–2018).

Among the twenty-four films and series the Playlist’s Jamie Rogers is anticipating is David Frankle’s Jerry and Marge Go Large, starring Bryan Cranston and Annette Bening as a retired couple who hack the lottery. Tribeca opens tonight with Amanda Micheli’s Jennifer Lopez documentary Halftime and will close on June 18 with Josh Alexander’s Loudmouth, a portrait of Al Sharpton. Tribeca at Home, in the meantime, will give audiences from coast to coast access to a wide range of films from tomorrow through June 26.

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