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One of the best festivals during the first half of the year is The Museum of Modern Art and the Film Society of Lincoln Center’s New Directors/New Films, which kicks off its 46th year this March, running from the 15th to the 26th. With last year’s line-up including some of the year’s best films, including Cameraperson, The Fits, Kaili Blues, Neon Bull, Weiner, and more, we can expect many more discoveries this year.

Opening with Patti Cake$ and closing with Person to Person, in between will be one of our favorite films from Sundance as the centerpiece, Beach Rats. Also among the line-up is a handful of other festival favorites, including The Dreamed Path, The Giant, Menashe, and Lady Macbeth.

“Authenticity is an elusive thing these days, and without it we risk ruin. This is particularly true in cinema,” says Rajendra Roy, the Celeste Bartos Chief...

The Museum of Modern Art and the Film Society of Lincoln Center has today announces their complete lineup for the 46th annual New Directors/New Films (Nd/Nf), running March 15 – 26. Dedicated to the discovery of new works by emerging and dynamic filmmaking talent, this year’s festival will screen 29 features and nine short films. This year’s lineup boasts nine North American premieres, seven U.S. premieres, and two world premieres, with features and shorts from 32 countries across five continents.

The opening, centerpiece, and closing night selections showcase three exciting new voices in American independent cinema that all recently debuted at Sundance: Geremy Jasper’s “Patti Cake$” is the opening night pick, while Eliza Hittman’s “Beach Rats” is the centerpiece selection and Dustin Guy Defa will close the festival with “Person to Person.” Other standouts include “Menashe,” “My Happy Family,” “Quest” and “The Wound.”

Read More: The Sundance Rebel:...

Exclusive: Film exploring legacy of Thailand’s 1976 Thammasat University massacre scores international deals.

Paris-based sales outfit Luxbox has unveiled a fresh round of sales on Thai director Anocha Suwichakornpong’s timely political film By The Time It Gets Dark (Dao Khanong), including to New York-based world cinema distributor KimStim for the Us.

Exploring the legacy of Thailand’s 1976 Thammasat University massacre, in which at least 46 students were killed by government troops and paramilitary forces, the film intertwines the lives of a number of characters touched by the event from a former female political activist to a young documentary filmmaker and a pop-star.

“We’re thrilled to be bringing Anocha Suwichakornpong’s mesmerising and haunting second feature to Us audiences. With Dao Khanong, Anocha proves she deserves equal respect to other world renowned Thai filmmakers such as Apichatpong Weerasethakul, and Pen-ek Ratanaruang,” said KimStim founder Ian Stimler.

It is Suwichakornpong’s second solo feature film after her 2009 work...

Exclusive: UK outfit Day For Night has acquired the Venice and Locarno titles.

Midi Z’s The Road To Mandalay and Anocha Suwichakornpong’s By The Time It Gets Dark have both been picked up for UK theatrical distribution by indie outfit Day For Night.

The Road To Mandalay premiered at this year’s Venice Film Festival. It marks the fourth film from Myanmar-born Taiwanese director Midi Z (Ice Poison, City Of Jade).

Starring Wu Ke-Xi and Kai Ko, the film tells the story of two Burmese illegal immigrants seeking a better future over the border in Thailand. France’s Urban Distribution International is handling international sales.

Read: Venice buzz title: Midi Z talks biggest production to date ‘The Road To Mandalay’

By The Time It Gets Dark premiered at this year’s Locarno Film Festival and also played at the BFI London Film Festival.

It marks the second feature of Thai director Anocha Suwichakornpong. The film follows...

There’s only one question you need to ask to kick off your monthly movie club’s discussion of Anocha Suwichakornpong’s new film, “By the Time It Gets Dark,” and it is this: “What even is it?” Pardon our cheek. There’s simply no better way to articulate how utterly and unabashedly odd Suwichakornpong’s movie is, other than to suggest its shared ancestry with films like Leos Carax’s “Holy Motors,” a film that is itself so impossible to describe that referencing it here is likely to only muddy waters that are already clouded enough.

Continue reading ‘By The Time It Gets Dark’ Is Strange & Shares Ancestry With ‘Holy Motors’ [Tiff Review] at The Playlist.