When one considers the term “blockbusters,” epic films shown at prestigious venues like Lincoln Center may not immediately come to mind. However, that was precisely the setting last week as the New York Film Festival presented a 70mm print of Bradley Corbet’s “The Brutalist,” a 215-minute postwar epic. The festival, set to open its 62nd edition, garnered significant attention prior to the official start as cinephiles lined up eagerly for the advanced screening at the packed Walter Reade Theatre.
“The Brutalist” narrates the story of a Jewish architect (portrayed by Adrian Brody) reconstructing his life in Pennsylvania. Boasting VistaVision cinematography and a symphonic structure complete with a 15-minute intermission, the film blends arthouse aesthetics with blockbuster grandeur. The movie serves as a testament to the enduring grandiosity of cinema and its ability to awe and inspire audiences.
The New York Film Festival stands out as a beacon for celebrating the best in global cinema, showcasing bold and innovative works that push the boundaries of filmmaking. As Oscar campaigns start to gain momentum with Q&As and industry gatherings, this year’s festival presents a wide-open best picture race. Films like “The Brutalist,” RaMell Ross’ “Nickel Boys,” Sean Baker’s “Anora,” and Jacques Audiard’s “Emilia Perez” are poised to challenge conventional norms and redefine the contemporary arthouse landscape.
Ross’ “Nickel Boys” intricately weaves a narrative surrounding two Black students at a Florida reform school, offering a profound exploration of abuse and empathy. The festival’s main slate features 32 films from 24 countries, including works from acclaimed directors like Iranian Mohammad Rasoul, Chinese Jia Zhangke, and French filmmaker Mati Diop.
Noteworthy films at the festival include Georgian director Dea Kulumbegashvili‘s haunting sophomore feature “April,” which delves into the complexities of a wrongful accusation and illegal practices in a Georgian village. Indian filmmaker Payal Kapadia’s “All We Imagine as Light” transitions seamlessly from gritty realism to enchanting fable, portraying the lives of three women in modern Mumbai.
Carson Lund’s “Eephus,” another main slate entry, culminates with a poignant conclusion at sunset, capturing the essence of nostalgia and camaraderie amongst a group of middle-aged men during a final baseball game. These films at the New York Film Festival not only entertain but also compel audiences to reflect on various aspects of existence, mirroring the beauty and essence of storytelling within the realm of cinema.