The New York Film Festival recently concluded its 48th year of operation. It’s certainly one of the stuffier festivals I’ve attended, held in uptown Manhattan at the Lincoln Center and peopled largely by old-money, high-society patrons-of-the-arts types. Being a twentysomething living in Brooklyn and getting by on a Netflix subscription and something like $20,000 a year, I naturally felt a little out-of-place trying to slip past the old ladies with mink stoles and hide the holes in my jeans.
Luckily, though, despite the sometimes-stuffy atmosphere, the NYFF’s programmers had more than the upper crust in mind when laying down this year’s slate of films. Set up as a showcase rather than a competition, a wide range of nationalities, backgrounds, and levels of relative fame were represented in this year’s choices: although the fest’s opening film was The Social Network, its closer was Clint Eastwood’s Hereafter, and its centerpiece was the Helen Mirren-starring iteration of The Tempest, the real meat was to be found in the in-between zones.
One of the festival’s featured directors, for example, was Kelly Reichardt, whose Meek’s Cutoff was a decidedly un-mainstream and non-uptight affair. In addition to showing the film twice with a Q&A following each screening with Reichardt and actors Paul Dano, Neal Huff, and Tommy Nelson, the NYFF also included Reichardt in an installment of its series of “HBO Director’s Dialogues”, in which Reichardt sat down for an extended interview with the very knowledgeable critic Melissa Anderson, taking some further audience questions afterward.