Among the oldest and most influential Jewish film festivals worldwide, the 28th annual New York Jewish Film Festival (NYJFF) will take place January 9 to 22, 2019. Featuring new work as well as restored classics, the festival’s 2019 lineup includes 32 wide-ranging and exciting features and shorts from the iconic to the iconoclastic. Screenings are held at the Walter Reade Theater, 165 West 65th Street, NYC.
The NYJFF opens on Wednesday, January 9, with the New York premiere of Eric Barbier’s epic drama Promise at Dawn, starring Charlotte Gainsbourg and Pierre Niney. This riveting memoir chronicles the colorful life of infamous French author Romain Gary, from his childhood conning Polish high society with his mother to his years as a pilot in the Free French Air Forces.
The Closing Night film is the New York premiere of A Fortunate Man, directed by Academy Award–winner Bille August (Pelle the Conqueror). In it, a gifted but self-destructive young man leaves his suffocating Lutheran upbringing for metropolitan 1880s Copenhagen, where he’s welcomed into a wealthy Jewish family and strives to realize his grand ambitions.
The Centerpiece selection represents the first time an Israeli television series has been presented at the NYJFF with the three-and-a-half-hour miniseries Autonomies, to be presented all at once, binge-style, with a 20-minute intermission. Directed by Yehonatan Indursky, the dystopian drama is set in an alternate reality of present-day Israel, a nation divided by a wall into the secular “State of Israel,” with Tel Aviv as its capital, and the “Haredi Autonomy” in Jerusalem, run by an ultra-Orthodox Jewish group. A globally relevant tale of identity, religion, politics, personal freedom, and love, this gripping story follows a custody battle that upends the fragile peace of the country, pushing it to the brink of civil war. Indursky will present a master class in conjunction with the screening of Autonomies.
New to the NYJFF this year is an annual initiative that highlights a film made by a woman filmmaker that deserves broader American recognition. Maria Victoria Menis’s Camera Obscura (2008) tells the story of an immigrant woman whose encounter with an itinerant photographer reveals a sense of self she never knew. The film was shot in the lush forests and lagoons of Buenos Aires province in a mélange of visual styles, including elements of hand-drawn animation, World War I archival footage, and early surrealist black-and-white films.
Filmmaker Amos Gitai returns to the 2019 NYJFF with the U.S. premiere of his thought-provoking new drama, A Tramway in Jerusalem. Gitai uses the tramway that runs through Jerusalem to connect a series of short vignettes, forming a mosaic of Jewish and Arab stories embodying life in the city.
The NYJFF will also present the U.S. premiere of Fig Tree by first-time director Aäläm-Wärqe Davidian. Set in Addis Ababa during the Ethiopian Civil War, the film concerns a young woman who plans to flee to Israel with her brother to reunite with their mother. But she is unwilling to leave her Christian boyfriend behind and hatches a scheme to save him from being drafted.
Bergman – a Year in a Life[/caption]
Provocative cinema, historical film epics, and an homage to Swedish master director Ingmar Bergman are the hallmarks of the Specials section of the 60th Nordic Film Days Lübeck, which runs from October 30 to November 4. In honor of the centenary of Bergman’s birth, the festival, which showed the maestro’s classic “Sawdust and Tinsel” at the very first NFL in 1956, will this year screen two relatively unknown Bergman gems – “From the Life of the Marionettes” (GER/SWE 1980), and “The Touch” (SWE/US 1970), in some cases newly digitized. In addition, the documentaries “Bergman – a Year in a Life” (SWE/NOR 2018), “Ingmar Bergman” (SWE 1971), and “The Memory of Ingmar Bergman” (FIN 2018) use personal remembrances, or special times in the director’s life, to take a look back at his life and work. Another film takes a very different approach to Bergman’s oeuvre. “Bergman revisited” (SWE 2018) is a compilation of short films – some irreverent, some experimental, some classic – by six Swedish filmmakers that completely reinterpret motifs from Bergman’s life and art.
The Specials section also has a showcase for another world-renowned Swede. Pernille Fischer Christensen’s film “