Michael Musto of The Village Voice on Martha Marcy May Marlene actress Elizabeth Olsen:
"Olsen is very subtle and strong, and really thought out the complexities and quirks of the deeply poignant character. At the festival yesterday, she talked a lot about her choices, including taking small bites of food at her sister and brother-in-law's house because her character had been accustomed to only eating once a day and she'd never eaten in front of a man before. Impressive."
The New York Times Art Beat blogger Dave Itzkoff on 'The West Memphis 3', Joe Berlinger, and the Paradise Lost trilogy:
"After gaining their freedom following a nearly two-decade ordeal, the Arkansas men known as the West Memphis Three are planning to attend a premiere screening in New York for the latest entry in a documentary series that has helped keep their case in the public eye for more than 15 years. Mr. Berlinger said in a statement: “What a remarkable opportunity to celebrate the power of cinema by having the subjects of these films — one of whom just six weeks ago was on death row and the others locked away for the rest of their lives — on hand to meet the audience who will witness their 18-year wrongful conviction odyssey on what is sure to be a monumental occasion for everyone involved Monday evening.”
Sandy Mandelberger, Editor-In-Chief of Film Festival Today, on our Masterworks series "Velvet Kisses and Steal Bullets: Celebrating the Nikkatsu Centennial":
"While newly released films bound for Oscar glory are grabbing many of the headlines at this week’s New York Film Festival, a treasure of classic and sometimes obscure Japanese cinema is being presented that has its own bounty. 'Velvet Kisses and Steal Bullets: Celebrating the Nikkatsu Centennial' looks back at some of the significant films
released by the Nikkatsu Corporation, a Japanese production and distribution company that has been active since the silent film days. Remaining remarkably prolific even during a time when the Japanese film industry is at somewhat of a low ebb, the series is a testament to the continued vitality and popular instincts that have allowed the company to keep at it all these years. Their famous motto 'We Make Fun Films' remains as true today as it was in its golden era."
Eric Kohn of indieWIRE attests to the long impact of the "short" film You Are Not I:
"Not quite a short or a feature, Sara Driver’s long-lost 1981 production 'you Are Not I' exists on some alternate plane that renders the distinction irrelevant. It’s more like a haunting cinematic journey that leads directly into its mentally disturbed protagonist’s head. 'You Are Not I' adapts the Paul Bowles short story of the same name and turns it into a disorienting psychological experience where nobody’s sanity can be trusted, including that of the audience. Present-day viewing of 'You Are Not I,' which played overseas at a few festivals last year ahead of its New York Film Festival screening on Thursday night, adds to its otherworldly allure because it has transformed into a post-punk time capsule. Co-written by Driver colleague Jim Jarmusch shortly after his own debut, 'Permanent Vacation' (for which Driver was production manager), 'You Are Not I' captures an anarchic spirit embodied by a crowd of American independent filmmakers who were largely influenced by European and avant-garde traditions."
Ian Erickson-Kery from The L Magazine discusses Andrew Bird: Fever Year:
"The New York Film Festival screened the music doc Andrew Bird: Fever Year twice this past weekend. The film makes clear Bird’s intense focus, which he admits borders on obsession. But the film provides insight into Bird’s life outside of music as well. This rare glimpse into Bird’s life leaves an inspiring impression, not only to be firmly committed to what excites and intrigues us, but also to keep on chasing the ghost that we wake up with each morning."
Christopher Bell of The Playlist (indieWIRE) raves about The Kid With a Bike:
"Are there any filmmakers as consistent as our favorite Belgian siblings the Dardenne Brothers? While they won’t break any box office records, every instalment of the arthouse duo’s output is generally a critical and cinephile darling, not to mention it probably holds an award from the prestigious Cannes Film Festival. And their newest offering, 'The Kid With A Bike,' is a home run."