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🇰🇷 Beginning Friday, get lost and immersed in the Korean cinema of the 1970s...

Join us for archival prints and new restorations of some of the most daring and emotionally charged filmmaking in Korean history! 🎟️: filmlinc.org/korean

This series is sponsored by @mubiusa.

Poster design by Choi Jee-woong /
@propaganda01

Watch the trailer for our upcoming series Korean Cinema’s Celluloid Fever: The 1970s, beginning this Friday and running through May 26!

View full screening schedule and secure 🎟️ at filmlinc.org/korean

This series is sponsored by @mubiusa.

“As we watch these characters forge on with the simple challenges of their lives, we feel as if we’ve tapped into a more elemental state of being, one that transcends mere human endeavor.” (Bilge Ebiri, Vulture)

SILENT FRIEND is now playing in NY. Expands to select cities this Friday, including LA, SF, and DC.

🇰🇷 Whether you're in the mood for an art film, a grindhouse nightmare, a deranged coastal noir, a "hostess melodrama," or a landmark of queer cinema, take a trip with us back to the wild period of Korean cinema in the 1970s...

Beginning this Friday, join us for archival prints and new restorations of some of the most daring and emotionally charged filmmaking in Korean history! 🎟️: filmlinc.org/korean

This series is sponsored by @mubiusa.

Poster design by Choi Jee-woong / @propaganda01

🐑 Get a load of this diva...

Don’t miss the New York premiere of 🇮🇹 Massimilano Camaiti’s documentary AGNUS DEI, exploring the mystical process by which two newborn lambs at a Roman monastery are prepared to provide wool for a sacred vestment to be worn by the Pope, on May 31 and June 4 as part of this year’s edition of Open Roads: New Italian Cinema!

No animals were harmed in the making of this production, as that would obviously be baaahhd.

🎟️: filmlinc.org/openroads

🐑 Get a load of this diva...

Don’t miss the New York premiere of 🇮🇹 Massimilano Camaiti’s documentary AGNUS DEI, exploring the mystical process by which two newborn lambs at a Roman monastery are prepared to provide wool for a sacred vestment to be worn by the Pope, on May 31 and June 4 as part of this year’s edition of Open Roads: New Italian Cinema!

No animals were harmed in the making of this production, as that would obviously be baaahhd.

🎟️: filmlinc.org/openroads

🐑 Get a load of this diva...

Don’t miss the New York premiere of 🇮🇹 Massimilano Camaiti’s documentary AGNUS DEI, exploring the mystical process by which two newborn lambs at a Roman monastery are prepared to provide wool for a sacred vestment to be worn by the Pope, on May 31 and June 4 as part of this year’s edition of Open Roads: New Italian Cinema!

No animals were harmed in the making of this production, as that would obviously be baaahhd.

🎟️: filmlinc.org/openroads

🐑 Get a load of this diva...

Don’t miss the New York premiere of 🇮🇹 Massimilano Camaiti’s documentary AGNUS DEI, exploring the mystical process by which two newborn lambs at a Roman monastery are prepared to provide wool for a sacred vestment to be worn by the Pope, on May 31 and June 4 as part of this year’s edition of Open Roads: New Italian Cinema!

No animals were harmed in the making of this production, as that would obviously be baaahhd.

🎟️: filmlinc.org/openroads

This pinpoint sharp review by Manohla Dargis for The New York Times almost made me pass out the first time I read it.
Now it deserves a highlight spot. Go see Donkey Days in the cinema if you can!!!

“There are moments in Rosanne Pel’s queasily amusing, at times gleefully button-pushing, German-set ‘Donkey Days’ when it’s hard to know whether to shriek with laughter or disgust. Both are reasonable responses to the perfectly imperfect Anna (an excellent Jil Krammer). A raging narcissist with a facility for torpedoing her life, Anna never seems more alive than when she battles with her sister, Charlotte (Susanne Wolff), who holds herself in similarly high regard, and with their impossible mother, Ines (Hildegard Schmahl). With compassion, unforced realism and whiplashing tonal shifts, Pel exults in three difficult women who, even at their most appalling (yet funny), are also staking a claim on your affections.”

— Manohla Dargis, The New York Times

Thanks to everyone on the team who helped this film fly and be free.

Met @jil_krammer Susanne Wolff Hildegard Schmahl Amke Wegner @carla.juri10 @theklareuten @spitzenbergerjeroen

Camera Aafke Beernink
Geluid Jaap Sijben & @koosvandervaart
Kostuumontwerp @petrakilian
Setdresser @sophialund.art
Casting @debocongia & @maris_eufinger
1st AD @wallisgram
Montage Xander Nijsten @rednaxn
Muziek @ellavanderwoude
Sound design Mark Glynne
Post productie coordinator @neeltje_vdh
Productieleider @ks_beratung
Uitvoerend producent @noortjedijkstra
Associate producer @lisaherbers
Co-producent @grafehoft99
Co-producent @arte.tv swr @omroepvpro @martienvlietman
Producent @flooronrust
Met financiële steun van @nederlandsfilmfonds @cobofonds @moinfilmfoerderung
Distributeur @gusto.ent @heinvanjoolen
International sales @totem.films @berenice.vincent

🎟️ are now on sale for Hafsia Herzi's THE LITTLE SISTER, a 2026 🇫🇷 Rendez-Vous with French Cinema selection opening in our theaters on June 5!

Devout Muslim teenager Fatima (Cannes Best Actress winner Nadia Melliti) takes a journey of self-discovery amid her Algerian immigrant family in Paris in Hafsia Herzi’s queer coming-of-age story. Nominated for six César Awards, winner of Best Female Newcomer (Melliti).

🎟️: filmlinc.org/sister

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment’s new quarterly digital magazine and archive with a party at @dctvny! It was a beautiful night of paying tribute to the past and future of film criticism, with readings by Amy Taubin, who revisited her essay on Mulholland Drive from the September-October 2001 issue; J. Hoberman, who read from one of his first features for FC, a 1980 piece titled “Bad Movies;” and Molly Haskell, who regaled everyone with an excerpt from her 1997 essay on Guilty Pleasures. Subscribers can find all of these articles in the FC archive.

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to @seandiserio for capturing the evening on camera.

Discover the new era of Film Comment and subscribe today at filmcomment.com.

Thanks everyone who joined us at sold out opening weekend Q&As with director Ildikó Enyedi and Tony Leung Chiu-wai.

SILENT FRIEND is now playing @angelikafilmny & @filmlinc.

Thanks everyone who joined us at sold out opening weekend Q&As with director Ildikó Enyedi and Tony Leung Chiu-wai.

SILENT FRIEND is now playing @angelikafilmny & @filmlinc.

Thanks everyone who joined us at sold out opening weekend Q&As with director Ildikó Enyedi and Tony Leung Chiu-wai.

SILENT FRIEND is now playing @angelikafilmny & @filmlinc.

Thanks everyone who joined us at sold out opening weekend Q&As with director Ildikó Enyedi and Tony Leung Chiu-wai.

SILENT FRIEND is now playing @angelikafilmny & @filmlinc.

Thanks everyone who joined us at sold out opening weekend Q&As with director Ildikó Enyedi and Tony Leung Chiu-wai.

SILENT FRIEND is now playing @angelikafilmny & @filmlinc.

Thanks everyone who joined us at sold out opening weekend Q&As with director Ildikó Enyedi and Tony Leung Chiu-wai.

SILENT FRIEND is now playing @angelikafilmny & @filmlinc.

Thanks everyone who joined us at sold out opening weekend Q&As with director Ildikó Enyedi and Tony Leung Chiu-wai.

SILENT FRIEND is now playing @angelikafilmny & @filmlinc.

Thanks everyone who joined us at sold out opening weekend Q&As with director Ildikó Enyedi and Tony Leung Chiu-wai.

SILENT FRIEND is now playing @angelikafilmny & @filmlinc.

Thanks everyone who joined us at sold out opening weekend Q&As with director Ildikó Enyedi and Tony Leung Chiu-wai.

SILENT FRIEND is now playing @angelikafilmny & @filmlinc.

Thanks everyone who joined us at sold out opening weekend Q&As with director Ildikó Enyedi and Tony Leung Chiu-wai.

SILENT FRIEND is now playing @angelikafilmny & @filmlinc.

Thanks everyone who joined us at sold out opening weekend Q&As with director Ildikó Enyedi and Tony Leung Chiu-wai.

SILENT FRIEND is now playing @angelikafilmny & @filmlinc.

Thanks everyone who joined us at sold out opening weekend Q&As with director Ildikó Enyedi and Tony Leung Chiu-wai.

SILENT FRIEND is now playing @angelikafilmny & @filmlinc.

An Ecumenical Jury Prize winner at the Berlinale and South Africa’s entry to the 2026 Academy Awards, Imran Hamdulay's THE HEART IS A MUSCLE makes its New York premiere tonight at 5:45pm (with an in-person Q&A with lead actor Keenan Arrison) as part of this year's New York African Film Festival!

🎟️: filmlinc.org/african

This moving redemption story centers on a father forced to confront the past after his violent reaction to his young son’s brief disappearance.

🇰🇷 Beginning this Friday, take a trip with us back to the wild period of Korean cinema in the 1970s.

Featuring archival prints and new restorations of some of the most daring and emotionally charged filmmaking in Korean history! 🎟️: filmlinc.org/korean

This series is sponsored by @mubiusa.

Poster design by Choi Jee-woong / @propaganda01

Tomorrow at #NYAFF33, step into 1959 Léopoldville with the North American premiere of ‘Rumba Royale’🎶✨

🎞️ Set in the legendary Rumba Royale nightclub during the final days of Belgian colonial rule, this captivating historical thriller follows a young photographer and an ambitious waitress as music, politics, and personal dreams collide in a city on the brink of change.

🌍Featuring the acting debut of Congolese rumba superstar Fally Ipupa (@fallyipupa01 ), Rumba Royale by Hamed Mobasser and Yohane Dean Lengol brings the energy and spirit of Congolese rumba to the big screen.

Stay for a post-screening Q&A with directors Hamed Mobasser and Yohane Dean Lengol!

🗓️ Sunday, May 10 | 6PM�📍 Film at Lincoln Center�🎟️ Tickets in bio
#NYAFF33