NYFF62 at BAM

In a bold project of reclamation, filmmaker Madeleine Hunt-Ehrlich burrows to the complex truths about 1930s feminist activist Suzanne Césaire, a woman, artist, and mother forgotten to history.

Marguerite Duras’s ghostly filmmaking debut, which captures a delicate and devastating dance among three characters in a small French town, screens alongside Chantal Akerman’s “musical comedy without singing.”

This eye-opening, vérité-style documentary provides a harrowing account of the systematic destruction experienced by Masafer Yatta, in the southern West Bank, at the hands of the Israeli military.

In a meditative and expansive new film from Jem Cohen (Museum Hours), an Austrian astronomer travels to a mountaintop on a Greek island in search of the darkest sky against which to view the cosmos.

Showing little patience for hagiography, Alex Ross Perry’s sorta-documentary about beloved indie-rock band Pavement takes a nonlinear, absurdist approach while evincing a deep love for its subject.

In his first feature, photographer-filmmaker Yashaddai Owens imagines James Baldwin’s first experiences in Paris in impressionistic fashion, shooting in black-and-white on 16mm film.

Daniel Craig pursues erotic desires among American expatriates in post-World War II Mexico in Luca Guadagnino’s ambitious adaptation of William S. Burroughs’s cornerstone of transgressive gay literature.

In RaMell Ross’s extraordinary realization of Colson Whitehead’s Pulitzer Prize–winning novel, two Black teenagers who become wards of a barbaric juvenile reformatory in Jim Crow–era Florida.

The earliest surviving Iranian film directed by a woman, Marva Nabili’s astonishing debut conjures the everyday plight of the female subject under the stifling patriarchy of village life in southwestern Iran.

Soviet Union-born American filmmaker Julia Loktev, who returned to Russia months before the country’s invasion of Ukraine, provides an extraordinary vérité document of a moment of immense change and anxiety.