Diana Drumm is a member of the NYFF Critics Academy. She examines the illusion American Dream in Steve McQueen's 12 Years a Slave and James Gray's The Immigrant.
Shelley Farmer is a member of the NYFF Critics Academy. She examines two festival films, Paul Greengrass' "Captain Phillips" and Hany Abu-Assad's "Omar," that find personal focus amid a political story and argues that both owe a debt to genre filmmaking.
NYFF Critics Academy member Greg Cwik takes a look at NYFF Revivals title Mauvais Sang by Leos Carax and considers the link to its "spiritual successor," Holy Motors, which had its U.S. debut at NYFF 50.
NYFF Critics Academy member Dianna Drumm takes a look at the confluence of meta, narration and deciphering truth through three NYFF titles: The Secret Life Of Walter Mitty, When Evening Falls on Bucharest Or Metabolism and Providence.
NYFF Critics Academy member Judith Dry looks at two NYFF Official Selection films—one a historical narrative, the other an of-the-moment documentary—that explore revolution and its consequences. Both films have added screenings on October 13.
The intersection between reverence for tradition and upheaval in a fast changing world are central components of NYFF films At Berkeley and Manakamana. Critics Academy member Mark E. Lukenbill takes a look in his dispatch from the festival for FilmLinc Daily.
Ever the hot-button issue and a glaring reminder of dysfunctional government, Critics Academy member Vanessa Erazo take a look at immigration reform through hybrid film Who Is Dayani Cristal and documentary series How Democracy Now.
In his first dispatch from the 51st New York Film Festival, Critics Academy member Graham Winfrey takes a look at the family dynamic via South Korea's Nobody's Daughter Haewon and Japan's Like Father, Like Son.
NYFF Critics Academy member Gus Reed spotlights Alain Resnais's first English-language film, Providence, its early dismissal, and its renewed appeal among "internet savvy film buffs."