The New York Movie Pageant continues to roll out its 2025 lineup, with the 63rd annual version of the competition promising to present New York cinephiles entry to lots of the greatest titles rising from the world of worldwide cinema this 12 months. Along with buzzy world premieres like Bradley Cooper’s “Is This Factor On?,” the competition’s major slate consists of lots of the greatest movies premiering at Venice and Telluride, together with Luca Guadagnino’s “After the Hunt,” Jim Jarmusch’s “Father Mom Sister Brother, Noah Baumbach’s “Jay Kelly,” and Park Chan-wook’s “No Different Alternative.”
However for movie-goers in search of out hidden gems that fly below the radar of the buzziest competition titles, the Currents part is the place it’s at. The sidebar, which prides itself as a showcase of boundary-pushing worldwide cinema, will characteristic 16 options and 24 shorts representing 28 nations around the globe.
The Currents Centerpiece is “Mare’s Nest,” the latest characteristic from “Two Years at Sea” director Ben Rivers that may make its U.S. premiere at NYFF after bowing on the Locarno Movie Pageant. Different notable alternatives embrace Tsai Ming-liang‘s documentary “Again House” and Radu Jude’s subversive new tackle “Dracula.”
“In a movie panorama that’s so usually homogeneous by design, this 12 months’s Currents lineup is energizing for being a showcase of the boundless prospects of cinematic language,” NYFF creative director Dennis Lim mentioned in an announcement. “Resurrecting outdated applied sciences and subverting new ones, the filmmakers and artists right here use an ingenious array of types and kinds to research the previous and illuminate the current, within the course of reminding us of all that cinema can do.”
The 2025 New York Movie Pageant will run from September 26 – October 13. Hold studying for the complete Currents lineup, with movie descriptions supplied by NYFF.
“Mare’s Nest”
Ben Rivers, 2025, U.Okay./France/Canada, 98m
English and Catalan with English subtitles
U.S. Premiere
A toddler emerges from a crashed automobile and picks up a turtle to whom at least the origin of humanity is defined throughout an prolonged walk-and-talk set in opposition to a beautiful sundown. This little one is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a thriller the film by no means solutions. The newest characteristic by Ben Rivers (Two Years at Sea, NYFF49) deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, various existences and imagined futures), at occasions recalling earlier works like Gradual Motion and Ah, Liberty! even because it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic efficiency, this enigmatic, ever-shifting highway film can be a showcase for Rivers’s awe-inspiring view of the pure world, inhabited by his charismatic younger actors throughout a panoply of sequences—some amusing, some unnerving, and within the case of a stealth Don DeLillo adaptation, each.
“Again House / Hui Jia”
Tsai Ming-liang, 2025, Taiwan, 65m
North American Premiere
Over the course of three many years, Tsai Ming-liang has mastered a mode of observational, durational filmmaking that reshapes our relation to the area and time we inhabit. This type interprets seamlessly to the documentary portraiture of Again House, the place Tsai depicts Anong Houngheuangsy (star of Tsai’s Days, NYFF58) and the every day lifetime of his residence village in Laos. We witness buildings in various states of habitation and disrepair, cattle, rice fields, non secular websites, home scenes, a sun-dappled meals market, and a canine adorably attempting (and failing) to flee a carnival experience. Bestowing a special type of transferring stillness from his current works, with sequences that convey a radiant ambiance and buzzing pure life, Again House attracts consideration to the brilliance throughout, a homecoming of kinds after a string of movies a couple of Walker in exile.
Preceded by:
“Ecce Mole”
Heinz Emigholz, 2025, Italy, 28m
No dialogue
World Premiere
The newest entry in Heinz Emigholz’s (Slaughterhouses of Modernity, NYFF60) incisive, decades-long inquiry into the cinematic illustration of area contrasts two Turin landmarks designed by Italian neoclassical architect Alessandro Antonelli: the slim Casa Scaccabarozzi and the towering Mole Antonelliana, now residence to the Museo Nazionale del Cinema. With Emigholz’s signature metrical reducing and indirect framings, Ecce Mole explores cinema’s personal spatial and symbolic dimensions by way of the buildings’ opposing scales and features—inside and exterior, home and civic, modest and monumental.
“Barrio Triste”
Stillz, 2025, Colombia, 84m
Spanish with English subtitles
New York Premiere
Amongst a gaggle of violent youths who steal diamonds and burn automobiles, one of many crew has turned a pilfered digicam into an image-making endeavor. Discovered footage and lifeless pixels turn into the feel of a brand new aesthetic and a brand new type of thriller in Barrio Triste, the debut characteristic from Unhealthy Bunny collaborator Stillz, and the latest manufacturing by Concord Korine’s EDGLRD studio. Amid the callous acts and hopeless rage of those children—who’re resourceful sufficient to orchestrate a high-speed heist however too disaffected for a lot else—a supernatural eeriness surfaces by way of phrase of mysterious lights within the sky and lacking residents. With this ominous elegy of corrupted youth, the LiveLeak technology meets its Los Olvidados. That includes unique music by Arca.
“Bouchra”
Orian Barki, Meriem Bennani, 2025, Italy/Morocco/U.S., 83m
Arabic, French, and English with English subtitles
U.S. Premiere
Moroccan filmmaker Bouchra is writing an autobiographical movie that reflexively weaves collectively her personal life in New York Metropolis with that of her fictional double. Bouchra occurs additionally to be a coyote in a metropolis of anthropomorphic creatures, rendered in practically photorealistic and hyper-expressive animations. Alongside her inventive struggles and makes an attempt to unpack her mom’s unresolved emotions about her queerness are on a regular basis releases—sexual encounters, nights out clubbing, intimate conversations—all brilliantly constructed by administrators Orian Barki and Meriem Bennani (Life on the CAPS, NYFF60) by way of precise cellphone calls, letters, and characters voiced by family and friends taking part in variations of themselves. Bridging animation and reside motion, every day life in New York and the complexities of being residence in Casablanca, Bouchra is laced with pathos and familiarity, suffused with the political nuances of inhabiting a number of cultures.
“Dracula”
Radu Jude, 2025, Romania, 170m
Romanian with English subtitles
New York Premiere
An inimitable social chronicler, Radu Jude expands the dystopian visions of Do Not Count on Too A lot From the Finish of the World (NYFF61) and Unhealthy Luck Banging or Loony Porn (NYFF59) by connecting vampire mythos to seemingly every thing in our troubled occasions. His Dracula is much less a spin on Bram Stoker and (per the movie’s presenter) “extra like Frankenstein’s monster,” variously following the madcap chase of two actors, adapting the first-ever Romanian vampire novel, and chronicling blood-soaked misdeeds round a video-game sweatshop. Stinging critiques of AI, capitalism, and cultural degradation are buttressed with meditations on vampire tales (F.W. Murnau, Francis Ford Coppola) and wide-ranging cultural allusions (Beckett, Chaplin). Dracula displays a gleeful, chaotic vulgarity, but Jude’s sideways vampire historical past concludes on a notice of reconciliation and hope. A 1-2 Particular launch.
“Drunken Noodles”
Lucio Castro, 2025, Argentina/U.S., 83m
English and Spanish with English subtitles
North American Premiere
The brand new movie from New York–primarily based Argentinean director Lucio Castro—whose time-bending Finish of the Century (ND/NF 2019) marked one of many previous decade’s queer cinematic discoveries—weaves 5 chapters within the sexual lifetime of a cat-sitting artwork scholar named Adnan (Laith Khalifeh), all of them united by an erotic magical realism. Whereas the conditions inside every of the movie’s playful, nonchronological segments appear to signify anecdotal aspects of on a regular basis homosexual life, from city relationship rituals to monogamy anxieties throughout a weekend upstate, Drunken Noodles constantly pushes issues into the realms of the unreal, even the mythic. Like Finish of the Century, Castro’s newest is each horny and surprisingly cosmic, however this time with an informal, puckish attraction. A Strand Releasing launch.
“Dry Leaf”
Alexandre Koberidze, 2025, Germany/Georgia, 186m
Georgian with English subtitles
U.S. Premiere
In soccer, a “dry leaf” is a kick that produces an unpredictable touchdown of the ball. Shaken by the disappearance of his grown daughter, a sports activities photographer goes searching for her by way of a Georgian panorama strewn with soccer fields. An invisible companion in tow, he meets potential witnesses whose views show distorted or contradictory. Confirming his place as certainly one of up to date cinema’s most intrepid artists, director Alexandre Koberidze (What Do We See When We Have a look at the Sky?, NYFF59) shot the movie on an antiquated Sony Ericsson cellphone. What may appear a perverse selection reveals itself, over Dry Leaf’s epic size, as an excellent thematic gesture that elicits its personal temporal register. Set to a haunting rating by the director’s brother Giorgi, this melancholic thriller presents Georgia’s open plains and mountain areas in alien, oneiric contexts. One emerges from its transporting rhythms with a contemporary perspective on the world.
“Escape / Toso”
Masao Adachi, 2025, Japan, 114m
Japanese with English subtitles
North American Premiere
A up to date of Nagisa Ōshima and Kōji Wakamatsu, Masao Adachi has spent greater than six many years as a revolutionary determine on each cinematic and political phases. These private histories are brilliantly distilled in his biopic of Japanese terrorist Satoshi Kirishima, who, as one of many nation’s most needed males, efficiently evaded seize for practically 50 years earlier than revealing his true identification on his deathbed. Kirishima’s outstanding, usually troubling life—from anarchist actions to a brand new existence below an assumed identify, all of the whereas pushed by guilt for failing to satisfy his vocation—is advised by way of a blinding mixture of archival footage, staged recreations, and outright fantasy that permits Adachi to hint a historical past of resistance and terror in Japan. The performances from Kanji Furutachi and Rairu Sugita convey lifetimes of idealism and remorse.
“Proof“
Lee Anne Schmitt, 2025, U.S., 75m
New York Premiere
America is constructed on secret plans and backroom offers, and whether or not one advantages or suffers from these preparations is a roll of the cube. Lee Anne Schmitt’s fleet and complex essay movie concerning the Olin Company, a longtime producer of ammunition and chemical compounds, considers the corporate’s seemingly bottomless attain in trendy life and its place in her family. Doubling as an account of contemporary American conservatism (from media gadflies to 6 Supreme Court docket justices), the movie is punctuated with contemporaneous footage that, seen by way of the lens of Olin’s misdeeds, generates the stress and shock of a style movie. Proof features as a confession, an exegesis on motherhood, and at last, a movie about, in Schmitt’s personal phrases, “being damage inside your personal residence by the people who find themselves speculated to deal with you.”
“Hair, Paper, Water… / Tóc, Giấy và Nước…”
Trương Minh Quý, Nicolas Graux, 2025, Vietnam, 71m
Vietnamese with English subtitles
North American Premiere
With Hair, Paper, Water… Trương Minh Quý (Việt and Nam, NYFF62) and Nicolas Graux have made an unassuming but vivid movie about one Vietnamese household residing amid extraordinary epochs and private strife. Born in a cave greater than 60 years in the past, Mrs. Hậu regales us with a lifetime’s knowledge—native folklore, pure historical past, private strategies for combating COVID—whereas certainly one of her grandchildren, within the right here and now, faces a heartbreaking home wrestle. Graux’s 16mm images is equal elements uncooked and opulent, and the sound design, by Trương and Ernst Karel, pays justice to each residing creature (bees, monkeys, tigers, bats) below a perpetually clouded solar. Hair, Paper, Water… emboldens one’s love of this earth and the phrases used to share it.
“Final Night time I Conquered the Metropolis of Thebes / Anoche conquisté Tebas”
Gabriel Azorín, 2025, Spain/Portugal, 106m
Portuguese, Latin, Galician, and Spanish with English subtitles
North American Premiere
Gabriel Azorín declares himself as a serious new voice in his debut characteristic, a cosmic hangout movie of kinds with a proper management that means a director many years his senior. Within the neighborhood of an historical Roman thermal bathtub within the Spanish countryside, a number of younger males boast of victories, confess fears, and search for on the darkening sky; as evening falls, one other group materializes, their conversations echoing what got here earlier than and steadily confounding our very sense of time. A movie of lingering thriller and sweetness, distinguished by outstanding evening images, a wide ranging drone shot, and a powerful command of blocking, area, and lightweight, Final Night time I Conquered the Metropolis of Thebes is narrative cinema as travelogue and time machine.
“Levers”
Rhayne Vermette, 2025, Canada, 93m
English and French with English subtitles
U.S. Premiere
One thing could be very unsuitable within the forests and houses of Levers, the latest characteristic from Métis filmmaker Rhayne Vermette (Ste. Anne, NYFF59). Folks communicate of unstable occasions—sunrises are presents as a substitute of givens, darkness turns into an growing presence—whereas tarot-themed chapters level towards a grand principle of discontent. Are these narratives actual, or spun from the tv and radio broadcasts we hear all through? Might these occasions be an area delusion starting to return to life, or a curse? In a piece as enthusiastic about pastoral landscapes because the haunting glow of a tube TV, Vermette extracts risk from each shot, right down to crossfading that recollects the expressiveness of silent cinema. Levers is visually resplendent and a sonic marvel.
“Little Boy”
James Benning, 2025, U.S., 73m
North American Premiere
James Benning’s mesmerizing new movie spans many years of U.S. historical past with easy and seemingly minor gestures. Foregrounding its personal structural type, Little Boy reveals us a collection of prefabricated toy fashions being painted in close-up, accompanied by the rallying cries of people and pop requirements, adopted by photos of the fashions’ ultimate development overlaid with passages of political oratory, from voices inspiring or nefarious. The cumulative picture is certainly one of a society doomed to cycles of home decline and implicated in worldwide terror within the identify of “peace-making” interventionism. A companion piece to American Goals: Misplaced and Discovered, Benning’s 1984 movie composed completely of baseball card memorabilia, Little Boy—its title recalling the lyrics from Pete Seeger’s “What Did You Be taught in Faculty Right this moment?”—is an American epic in miniature.
“Pin de Fartie”
Alejo Moguillansky, 2025, Argentina, 106m
Spanish with English subtitles
North American Premiere
Produced by El Pampero Cine, the Argentine collective recognized for its boundless creativeness in cinematic storytelling (La Flor, NYFF57 and Trenque Lauquen, NYFF60), Pin de Fartie unfolds as a playful spin on theatrical adaptation and an experiment in character dynamics. The movie charts three relationships outlined by Samuel Beckett’s 1957 play Fin de Partie (Endgame): one between a blind man and his daughter; one other regarding two actors rehearsing that very same textual content; the third following a person who reads his blind mom Beckett’s play and discovers that it displays their lives. Director Alejo Moguillansky retains a lot of Fin de Partie’schoreography and construction, then rigorously loosens it with comedian acts of repetition and musical scoring. Surprises and revelations (a brilliantly staged tennis match, an in-joke primarily based on a Martín Rejtman movie) arrive repeatedly in a pleasant movie that affirms Pampero common Laura Paredes as one of many best actors working at this time.
“Windward”
Sharon Lockhart, 2025, Canada/U.S., 70m
World Premiere
D.W. Griffith as soon as opined that cinema had misplaced “the great thing about transferring wind within the timber.” A Twenty first-century exception, Sharon Lockhart’s Windward contains 12 tableaux of the fields, shorelines, and coastal buildings of Fogo Island off Newfoundland, Canada. Lockhart turns these arresting settings into her personal stage, capturing the vivid blues and greens of nature, and the distant island’s distinctive geology and geography, whereas the youngsters at play throughout the landscapes carry motion and shock to her prolonged static takes. Windward heightens one’s senses and underscores Lockhart’s outstanding eye for shade, composition, gentle, and shadow.
“With Hasan in Gaza / مع حسن في غزة”
Kamal Aljafari, 2025, Palestine/Germany/France/Qatar, 106m
Arabic with English subtitles
New York Premiere
It’s 2001 in Gaza, and Palestinian filmmaker and visible artist Kamal Aljafari is touring from north to south, accompanied by a MiniDV digicam and looking for a person he met whereas briefly imprisoned as an adolescent. Aljafari’s footage, now practically a quarter-century outdated and unseen by the filmmaker himself till not too long ago, is commonly tranquil and languid: drives down the freeway, walks by way of the market, a visit to the seashore, a card sport amongst buddies. However the rapid return of Israeli shelling, captured right here intimately, invokes the ever-present background of settler violence. With Hasan in Gaza is an aching witness to the great thing about this land and the wrestle of its folks, neither of which can quickly be recognizable in any respect.
CURRENTS SHORT FILMS & DESCRIPTIONS
Currents Program 1: Beneath the Floor
This shorts program consists of Basma al-Sharif’s Morning Circle, Oscar Ruiz Navia’s Tigers Can Be Seen within the Rain, Kevin Jerome Everson and Claudrena N. Harold’s Dooni, Justin Jinsoo Kim’s A Actual Christmas, and Maryam Tafakory’s Daria’s Night time Flowers.
“Morning Circle / Morgenkreis”
Basma al-Sharif, 2025, Canada/UAE, 21m
German, Armenian, and Arabic with English subtitles
U.S. Premiere
Drifting by way of the streets of former East Berlin neighborhoods, Morning Circle traces the unsteady affective terrain of isolation and displacement, assimilation and oppression. In Basma al-Sharif’s (O, Persecuted, NYFF52) movie, the bureaucratic condescension and violence of a residency interview sits alongside home scenes that includes a father and his younger son. The movie uncovers the loss and thrumming tensions of exilic life below Western Europe’s easy grey surfaces.
“Tigers Can Be Seen within the Rain / Ya se ven los tigres en la lluvia”
Oscar Ruiz Navia, 2025, Colombia/Canada, 15m
Spanish and English with English subtitles
World Premiere
Desolate interstitial areas of a wintry, present-day Montreal—alleyways, bike paths, underpasses, skate parks—distinction with the livelier photos of decades-old residence movies in Tigers Can Be Seen within the Rain. Drifting between moving-image codecs and collaging native textures and bygone voices, Oscar Ruiz Navia’s movie displays on loss and mourning as experiences of temporal dislocation.
“Dooni”
Kevin Jerome Everson, Claudrena N. Harold, 2025, U.S., 8m
New York Premiere
Shimmering, kinetic, blue-black photos of dancers accompany an impassioned rereading of a eulogy for Sylvester, a.okay.a. “Dooni” (1947–1988), the legendary “Queen of Disco.” Weaving mourning with motion, Kevin Jerome Everson and Claudrena N. Harold’s (Black Bus Cease, NYFF57) movie reanimates gospel singer and preacher Walter Hawkins’s phrases, which mark a small however pivotal second within the historical past of HIV/AIDS, channeling their sense of grief and celebration into the current.
“A Actual Christmas”
Justin Jinsoo Kim, 2025, U.S./South Korea, 12m
World Premiere
Collaging textual content and sound together with the grainy distortions of inkjet-printed imagery, Justin Jinsoo Kim’s (Character Check, NYFF59) refractory archival dig items collectively the story of Lee Kyung Soo, an orphan of the Korean Battle adopted by a U.S. Naval officer in Westchester. With its cautious manipulation of microhistorical fragments, A Actual Christmas summons the neocolonial mythologies of america within the Nineteen Fifties by way of its information media, uncovering traces of alternate voices and narrative lacunae.
“Daria’s Night time Flowers / گلهای شب ِدریا”
Maryam Tafakory, 2025, Iran/U.Okay./France, 16m
Farsi with English subtitles
New York Premiere
Excavating psychically charged moments and cryptic iconography of post-revolutionary Iranian cinema, in addition to the opulent illuminated manuscripts of the traditional Greek botanist Dioscorides, Daria’s Night time Flowers is an herbarium of a girl’s illicit want, embellished in voluptuous azure and gold. Deploying photos of fireplace and the ocean, blood and flowers, Maryam Tafakory’s (Razeh-del, NYFF62) movie weaves a story of thwarted longing and vengeance.
Currents Program 2: Afterimages
This shorts program consists of Yace Sula’s As Advised by a Corpse, Mungo Thomson’s Time Life Quantity 15. Monument to a Interval of Time in Which I Lived, Lin Htet Aung’s A Metamorphosis, Jorge Caballero and Camilo Restrepo’s 09/05/1982, Marta Popivoda’s Slet 1988, and Whammy Alcazaren’s Water Sports activities.
“As Advised by a Corpse”
Yace Sula, 2025, U.S., 5m
New York Premiere
Deliriously hybridizing fuzzy video, heat analog movie grain, and the busy static of digital glitch, Yace Sula’s As Advised by a Corpse topics a house film of a naming ceremony for a new child toddler to a collection of raucous mutations, providing glimpses of our bodies and identities in flux, unruly and ungovernable.
“Time Life Quantity 15. Monument to a Interval of Time in Which I Lived”
Mungo Thomson, 2025, U.S., 2m
New York Premiere
Multiple thousand single-frame photos of candles, every {a photograph} excerpted from reference encyclopedias, manufacturing manuals, and how-to guides, mark time’s passage in Monument to a Interval of Time in Which I Lived. A solemn and hallucinatory memento mori, Mungo Thomson’s meticulous reanimation of ephemeral images evokes a singular expertise of period, a stress between the transferring and the nonetheless.
“A Metamorphosis”
Lin Htet Aung, 2025, Myanmar, 17m
Burmese with English subtitles
New York Premiere
Haunted chambers and liminal areas present the settings for Lin Htet Aung’s movie, which mimics the affective impressions and woozy video textures of a state tv broadcast. With the AI-simulated voice of Basic Min Aung Hlaing, the Prime Minister of Myanmar’s navy dictatorship, singing lullabies on the soundtrack, A Metamorphosis surfaces the buried buildings of feeling of state propaganda, rendering its subliminal symbolism as an oneiric journey by way of sinister, jittery tableaux.
“09/05/1982”
Jorge Caballero, Camilo Restrepo, 2025, Spain/Mexico, 11m
Spanish with English subtitles
U.S. Premiere
Uncovered residence motion pictures from 1982, scratched and grainy, of an unidentified Latin American metropolis reveal quotidian scenes in addition to faint traces of political violence: streets filled with crowds and armed police, burning tires and smashed home windows, and graffiti that commemorates the Could ninth Bloodbath. Jorge Caballero and Camilo Restrepo’s 09/05/1982 explores the occulted processes by which reminiscence, expertise, and propaganda rewrite the previous, blurring distinctions between the actual and the artificial.
“Slet 1988”
Marta Popivoda, 2025, Germany/France/Serbia, 22m
Serbo-Croatian with English subtitles
North American Premiere
A swarm of our bodies and lights clashes with the orderly grids of modernist structure in Slet 1988, which takes its title from Yugoslavia’s ultimate mass performance-celebration of socialism’s achievements. By way of the physique of 74-year-old dancer Sonja Vukićević and the late-Nineteen Eighties diaries of a teenage lady, Marta Popivoda’s incisive movie contrasts the collective gatherings of the Socialist Federal Republic’s decline with the rise of nationalism and isolation within the current.
“Water Sports activities”
Whammy Alcazaren, 2024, Philippines, 20m
Filipino with English subtitles
New York Premiere
Sweaty our bodies and drought-wracked landscapes collide in Whammy Alcazaren’s (Daring Eagle, NYFF61) frenzied sci-fi fantasy, a story of affection and basketball, earthquakes and tsunamis, treasured pasts and dismal futures. As excessive warmth burns the planet and surviving a waterless Philippines turns into more and more not possible, Jelson and Ipe attempt to reside, snort, and love their means by way of a local weather disaster rendered in addled digital collage and cartoon hysteria. Don’t cry, otherwise you die.
Currents Program 3: Frequent Floor
This shorts program consists of Lucas Kane’s Jacob’s Home; Karthik Pandian’s Anoka; and Adam Khalil, Jackson Polys, and New Pink Order’s Give It Again: Crimes In opposition to Realty.
“Jacob’s Home”
Lucas Kane, 2025, U.S., 16mm, 22m
North American Premiere
A movie about religious warfare and rentier capitalism, Jacob’s Home lingers on a 12-year resident of a Clinton Hill residence who has been resisting eviction since 2021. As jackhammers battle to drown out Jacob’s considerate voice-over narration on the soundtrack, Lucas Kane’s lovingly detailed 16mm portrait provides without delay a dreamy evocation of a devoted artist, clothes designer, and caretaker, and an incisive treatise on the which means of residence and the violence of personal property.
“Anoka”
Karthik Pandian, 2025, U.S./India, 12m
English, Spanish, Tamil, Lakota, and Anishinaabemowin with English subtitles
World Premiere
Distilling riotous energies and vibrant sensations, Karthik Pandian’s discursive and polyphonic movie traverses geographic expanses in the hunt for a subterranean spirit of collectivity, kinship, and alternate. Titled with a phrase that has many homophones throughout completely different languages—Dakota, Ojibwa, and Sanskrit—Anoka locates a shared area by which to construct anti-colonial solidarity throughout language, tradition, and time.
“Give It Again: Crimes In opposition to Realty”
New Pink Order, 2025, U.S., 34m
North American Premiere
“Are you bored with residing on stolen land?” Half infomercial, half agit-prop satire, Give It Again: Crimes In opposition to Realty playfully paperwork and fashions a Land Again undertaking alongside a solid of allies and accomplices that features the mayor of Oakland, a university professor, and a “reformed Native American impersonator.” With mischief and formal play, New Pink Order navigates the quandary of actual property and the “rematriation” of Indigenous lands from the Redwood Forest to a luxurious Park Avenue rental.
Currents Program 4: Mannequin Behaviors
This shorts program consists of Sara Magenheimer and Michael Bell-Smith’s Acetone Actuality, Nicolas Gourault’s Their Eyes, Toby Lee’s And If the Physique, and Carolyn Lazard’s Fiction Contract.
“Acetone Actuality”
Sara Magenheimer, Michael Bell-Smith, 2025, U.S., 12m
World Premiere
Pictures cascade and collide in Acetone Actuality, as animation, discovered photos, and the artists’ personal video recordings crash in opposition to a dialogue between computer-generated voices exploring the wonders of acetone and the character of which means. Throughout Sara Magenheimer (Artwork and Theft, NYFF55) and Michael Bell-Smith’s (Rabbit Season, Duck Season, NYFF53) teetering montage, blocky pixels, smeared colours, and cryptic iconography represent an “insane, but validated actuality.”
“Their Eyes”
Nicolas Gourault, 2025, France, 23m
English and Spanish with English subtitles
New York Premiere
“We have to annotate every thing.” Pictures of our bodies, vegetation, and police autos flood the frames of Nicolas Gourault’s movie with fields of blocky pixellation, as off-screen voices supply testimony concerning the work of visible information evaluation. Contending with the unknowably huge world of latest picture manufacturing, Their Eyes discloses the human labor—outsourced, distant, poorly paid, and often invisible—beneath the digital surfaces of visible information.
“And If the Physique”
Toby Lee, 2025, U.S., 27m
World Premiere
Gamespace turns into a therapeutic alternate actuality in And If the Physique, which examines the scientific makes use of of VR and different imaging applied sciences to deal with sufferers with extreme spinal wire accidents and different neuromuscular issues. Toby Lee’s movie explores the interface between the bodily and the technological, a zone by which the actual and the digital physique blurs into one.
“Fiction Contract”
Carolyn Lazard, 2025, U.S., 10m
U.S. Premiere
A simulation heart contained in the maternity ward of Elmhurst Hospital offers the setting for Carolyn Lazard’s astutely observational video, which paperwork an all-Black obstetrics crew of docs, nurses, and midwives as they rehearse a fancy childbirth situation with a ventriloquized model for a affected person. Deriving its title from the shared settlement amongst individuals in a coaching simulation, Fiction Contract lingers on the cautious staging and surreal efficiency of care throughout an train designed to scale back racial disparities in maternal mortality.
Currents Program 5: Fields of Imaginative and prescient
This shorts program consists of Blake Williams’s FELT; Jodie Mack’s Lover, Lovers, Loving, Love; Peter Larsson’s Keyhole Dialog, Victor Van Rossem’s towards a elementary principle of physics, and Jiayi Chen’s As a Tree Walks to Its Forest.
“FELT”
Blake Williams, 2025, Canada/U.S./Spain, 3D, 15m
U.S. Premiere
Blake Williams’s(Laberint Sequences, NYFF61) 3D travelogue of the American Southwest is a literal journey in stereoscopy and retrospection, capturing the textured desert landscapes, snaking powerlines, streaming atmospheres, and hazy roadsides in fractured glimpses and headlong movement. Gesturing towards cinema’s roots in Nineteenth-century phantom rides and panoramas, FELT finds a dynamic new type for the sensory expertise of area and motion.
“Lover, Lovers, Loving, Love”
Jodie Mack, 2025, U.S., 16mm, 15m
New York Premiere
Vivid floral specimens slosh exuberantly in a water tank, elegantly pirouette in superimposition, pulse and mutate in dizzying stroboscopic single-frame edits. Persevering with Jodie Mack’s (The Grand Weird, NYFF56) long-term undertaking of animating various supplies, Lover, Lovers, Loving, Love is an ecstatic and visceral reflection on temporality, each human and botanical, an amorous affirmation of loss of life and life.
“Keyhole Dialog”
Peter Larsson, 2025, Sweden, 6m
North American Premiere
With dazzling abstractions and jerky stop-motion, Keyhole Dialog deploys a barrage of flickering cut-outs and chaotic pencil scratchings in its headlong exploration of shade and line. Recalling the deconstructed handmade animations of Robert Breer, Peter Larsson’s movie pits riotous, jagged formalism in opposition to a haphazard soundtrack of bloops and pings and ramshackle percussion.
“towards a elementary principle of physics”
Victor Van Rossem, 2025, Belgium, 3D, 13m
U.S. Premiere
Dizzying, otherworldly, and really experimental, towards a elementary principle of physics deploys a reconstruction of the Time-Slice digicam, a round rig invented by cinematographer Tim MacMillan, that makes use of 293 lenses capturing concurrently to seize completely different factors of view in 16mm. Recalling Eadweard Muybridge’s protocinematic experiments in capturing motion, in addition to the summary lichtspiel of intermedia artists equivalent to László Moholy-Nagy, Thomas Wilfred, and Jim Davis, Victor Van Rossem’s 3D movie captures three-dimensional light-objects which are without delay spectral and tangibly current, a ballet of summary radiance and undulant shade.
“As a Tree Walks to Its Forest”
Jiayi Chen, 2025, U.S., 8mm/16mm, 18m
World Premiere
A lush, transporting triple-projection, As a Tree Walks to Its Forest loops each double 8 and 16mm hand-processed movie to immerse us in a dreamlike journey by way of wooded landscapes. A mosaic of superimposed fragments and textures, Jiayi Chen’s expanded movie work rearranges the spectator’s notion of forest ecology and different pure phenomena—wind, water, bark, grass, overstory—reimagining its topography as a frequently shifting woodland reverie.