{"id":76625,"date":"2016-08-09T12:17:04","date_gmt":"2016-08-09T12:17:04","guid":{"rendered":"https:\/\/0de2709a84.nxcli.net\/0-kjasnb\/2016\/08\/09\/barry-jenkins-moonlight-among-main-slate-54th-new-york-film-festival\/"},"modified":"2018-12-18T02:51:02","modified_gmt":"2018-12-18T02:51:02","slug":"barry-jenkins-moonlight-among-main-slate-54th-new-york-film-festival","status":"publish","type":"post","link":"https:\/\/www.blackfilm.com\/read\/barry-jenkins-moonlight-among-main-slate-54th-new-york-film-festival\/","title":{"rendered":"Barry Jenkins’ Moonlight Among Main Slate of the 54th New York Film Festival"},"content":{"rendered":"

Barry Jenkins’ Moonlight Among Main Slate of the 54th New York Film Festival<\/strong>Posted by Wilson Morales<\/p>\n

August 9, 2016<\/p>\n

\"NYFF<\/a><\/p>\n

The Film Society of Lincoln Center announces the 25 films for the Main Slate of the 54th New York Film Festival, September 30 \u2013 October 16.<\/strong><\/p>\n

NYFF Director and Selection Committee Chair Kent Jones said, \u201cThe cinema is so many things at once. And when I look at the films in this year\u2019s selection, I\u2019m aware of the fact that it is a form of response. The Dardenne Brothers, Ken Loach, Cristian Mungiu, Gianfranco Rosi, Kleber Mendon\u00e7a Filho, and Ava DuVernay are sounding alarms, while Jim Jarmusch, Kenneth Lonergan, Barry Jenkins, Maren Ade, Olivier Assayas, James Gray, and Mike Mills are fixed on internal landscapes, proclaiming the urgency of self-realization. I also see in this year\u2019s lineup a bounty of vital work from artists from all around the world who will not stop until they see their visions all the way to the end.\u201d<\/strong><\/p>\n

\"Moonlight<\/a><\/p>\n

This year\u2019s Main Slate showcases award-winning films that wowed viewers at international festivals, presented to New York audiences for the first time. Selections from Cannes include Ken Loach\u2019s<\/strong> Palme d\u2019Or-winning I, Daniel Blake; Olivier Assayas\u2019s Personal Shopper<\/strong> and Cristian Mungiu\u2019s Graduation<\/strong>, which tied for Best Director; and Maren Ade\u2019s highly acclaimed Toni Erdmann<\/strong>, awarded the Cannes Critics\u2019 Prize. From Berlin, Gianfranco Rosi\u2019s Golden Bear winner, Fire at Sea<\/strong>, will mark the director\u2019s NYFF debut, and Mia Hansen-L\u00f8ve returns to the festival with Things to Come, which won her Berlin\u2019s Best Director award.<\/p>\n

Other festival veterans returning to NYFF include Pedro Almod\u00f3var, Kelly Reichardt, Hong Sangsoo, Jean-Pierre and Luc Dardenne, Mat\u00edas Pi\u00f1eiro, Paul Verhoeven, Alain Guiraudie, Cristi Puiu, and Eug\u00e8ne Green. A number of celebrated filmmakers will make their NYFF debuts, such as Kenneth Lonergan with his third feature Manchester by the Sea; Kleber Mendon\u00e7a Filho, presenting Aquarius, his anticipated follow-up to Neighboring Sounds; Alison Maclean with her coming-of-age story The Rehearsal; Dash Shaw, whose animated My Entire High School Sinking into the Sea is his first feature; and Barry Jenkins<\/strong>, with his three-part portrait of a young gay African-American man, Moonlight.<\/strong><\/p>\n

\"kristen-stewart-personal-shopper\"<\/a><\/p>\n

Strong female performances are a prominent focus this year, with standout turns from Isabelle Huppert in Verhoeven\u2019s Elle and Hansen-L\u00f8ve\u2019s Things to Come; Brazilian legend S\u00f4nia Braga in Mendon\u00e7a Filho\u2019s Aquarius; Pi\u00f1eiro favorite Agustina Mu\u00f1oz in Hermia and Helena; and Kristen Stewart, Michelle Williams, and Laura Dern in Reichardt\u2019s triptych Certain Women, among others. The Main Slate also features two films that bring poetry to the screen: Pablo Larra\u00edn\u2019s Neruda, a portrait of the beloved Chilean poet, and Jim Jarmusch\u2019s Paterson, which carries the spirit of William Carlos Williams through the story of a city bus driver (Adam Driver) who also writes poetry.<\/p>\n

As previously announced, the festival also boasts three World Premieres in the gala slots: Ava DuVernay\u2019s The 13th (Opening Night), Mike Mills\u2019s 20th Century Women (Centerpiece), and James Gray\u2019s The Lost City of Z (Closing Night).<\/p>\n

The 54th New York Film Festival Main Slate<\/p>\n

Opening Night<\/strong>
\n The 13th<\/strong>
\n Directed by Ava DuVernay<\/strong>
\nUSA, 2016
\nWorld Premiere
\nThe title of Ava DuVernay\u2019s extraordinary and galvanizing documentary refers to the 13th Amendment to the Constitution, which reads \u201cNeither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States.\u201d The progression from that second qualifying clause to the horrors of mass criminalization and the sprawling American prison industry is laid out by DuVernay with bracing lucidity. With a potent mixture of archival footage and testimony from a dazzling array of activists, politicians, historians, and formerly incarcerated women and men, DuVernay creates a work of grand historical synthesis. A Netflix original documentary.<\/p>\n

Centerpiece<\/strong>
\n 20th Century Women<\/strong>
\n Directed by Mike Mills<\/strong>
\nUSA, 2016
\nWorld Premiere
\nMike Mills\u2019s texturally and behaviorally rich new comedy seems to keep redefining itself as it goes along, creating a moving group portrait of particular people in a particular place (Santa Barbara) at a particular moment in the 20th century (1979), one lovingly attended detail at a time. The great Annette Bening, in one of her very best performances, is Dorothea, a single mother raising her teenage son, Jamie (Lucas Jade Zumann), in a sprawling bohemian house, which is shared by an itinerant carpenter (Billy Crudup) and a punk artist with a Bowie haircut (Greta Gerwig) and frequented by Jamie\u2019s rebellious friend Julie (Elle Fanning). 20th Century Women is warm, funny, and a work of passionate artistry. An A24 Release.<\/p>\n

Closing Night<\/strong>
\n The Lost City of Z<\/strong>
\n Directed by James Gray<\/strong>
\nUSA, 2016
\nWorld Premiere
\nJames Gray\u2019s emotionally and visually resplendent epic tells the story of Lieutenant Colonel Percy Fawcett (a remarkable Charlie Hunnam), the British military-man-turned-explorer whose search for a lost city deep in the Amazon grows into an increasingly feverish, decades-long magnificent obsession that takes a toll on his reputation, his home life with his wife (Sienna Miller) and children, and his very existence. Gray and cinematographer Darius Khondji cast quite a spell, exquisitely pitched between rapture and dizzying terror. Also starring Robert Pattinson and Tom Holland, The Lost City of Z represents a form of epic storytelling that has all but vanished from the landscape of modern cinema, and a rare level of artistry.<\/p>\n

Aquarius<\/strong>
\n Directed by Kleber Mendon\u00e7a Filho<\/strong>
\nBrazil\/France, 2016, 142m
\nPortuguese with English subtitles
\nU.S. Premiere
\nA highlight of this year\u2019s Cannes Film Festival, Kleber Mendon\u00e7a Filho\u2019s follow-up to his acclaimed Neighboring Sounds revolves around the leisurely days of a 65-year-old widow, transcendently played by the great Brazilian actress S\u00f4nia Braga. Clara is a retired music critic and the only remaining resident of the titular apartment building in Recife. Trouble starts when an ambitious real estate promoter who has bought up all of Aquarius\u2019s other units comes knocking on Clara\u2019s door. She has no intention of leaving, and a protracted struggle ensues. Braga\u2019s transfixing, multilayered performance and the film\u2019s deliberate pacing and stylistic flourishes yield a sophisticated, political, and humane work.<\/p>\n

Certain Women<\/strong>
\n Directed by Kelly Reichardt<\/strong>
\nUSA, 2016, 107m
\nThe seventh feature by Kelly Reichardt (Meek\u2019s Cutoff), a lean triptych of subtly intersecting lives in Montana, is a work of no-nonsense eloquence. Adapting short stories by Maile Meloy, Certain Women follows a lawyer (Laura Dern) navigating an increasingly volatile relationship with a disgruntled client; a couple (Michelle Williams and James Le Gros) in a marriage laden with micro-aggression and doubt, trying to persuade an old man (Rene Auberjonois) to sell his unused sandstone; and a young ranch hand (Lily Gladstone) fixated on a new-in-town night school teacher (Kristen Stewart). Shooting on 16mm, Reichardt creates understated, uncannily intimate dramas nestled within a clear-eyed depiction of the modern American West. An IFC Films release.<\/p>\n

Elle<\/strong>
\n Directed by Paul Verhoeven<\/strong>
\nFrance\/Germany\/Belgium, 2016, 131m
\nFrench with English subtitles
\nU.S. Premiere
\nPaul Verhoeven\u2019s first feature in a decade\u2014and his first in French\u2014ranks among his most incendiary, improbable concoctions: a wry, almost-screwball comedy of manners about a woman who responds to a rape by refusing the mantle of victimhood. As the film opens, Parisian heroine Mich\u00e8le (a brilliant Isabelle Huppert) is brutally violated in her kitchen by a hooded intruder. Rather than report the crime, Mich\u00e8le, the CEO of a video game company and daughter of a notorious mass murderer, calmly sweeps up the mess and proceeds to engage her assailant in a dangerous game of domination and submission in which her motivations remain a constant source of mystery, humor, and tension. A Sony Pictures Classics release.<\/p>\n

Fire at Sea \/ Fuocoammare<\/strong>
\n Directed by Gianfranco Rosi<\/strong>
\nItaly\/France, 2016, 108m
\nEnglish and Italian with English subtitles
\nWinner of the Golden Bear at this year\u2019s Berlin Film Festival, Gianfranco Rosi\u2019s documentary observes Europe\u2019s migrant crisis from the vantage point of a Mediterranean island where hundreds of thousands of refugees, fleeing war and poverty, have landed in recent decades. Rosi shows the harrowing work of rescue operations but devotes most of the film to the daily rhythms of Lampedusa, seen through the eyes of a doctor who treats casualties and performs autopsies, and a feisty but anxious pre-teen from a family of fishermen for whom it is simply a peripheral fact of life. With its emphasis on the quotidian, the film reclaims an ongoing tragedy from the abstract sensationalism of media headlines. A Kino Lorber release.<\/p>\n

Graduation \/ Bacalaureat<\/strong>
\n Directed by Cristian Mungiu<\/strong>
\nRomania, 2016, 127m
\nRomanian with English subtitles
\nCristian Mungiu\u2019s expertly constructed drama concerns a doctor desperate for his daughter to escape corruption-plagued Romania by accepting a scholarship offer from a British university (after-the-fact layer of irony courtesy of Brexit), contingent on her high school final exams. But after she\u2019s assaulted, perhaps for past sins of her father, the doctor must decide whether he will take advantage of his position to ensure that she receives high marks, despite her trauma. Parents anxious about their children\u2019s education will appreciate the moral dilemma the film poses. Like Mungiu\u2019s superb 4 Months, 3 Weeks and 2 Days (NYFF \u201907), Graduation resonates beyond national boundaries. A Sundance Selects release.<\/p>\n

Hermia and Helena<\/strong>
\n Directed by Mat\u00edas Pi\u00f1eiro<\/strong>
\nArgentina\/USA, 2016, 87m
\nEnglish and Spanish with English subtitles
\nU.S. Premiere
\nShooting outside his native Argentina for the first time, New York\u2013based Mat\u00edas Pi\u00f1eiro fashions a bittersweet comedy of coupling and uncoupling that doubles as a love letter to his adopted city. Working on a Spanish translation of A Midsummer Night\u2019s Dream on an artist residency, Camila (Agustina Mu\u00f1oz) finds herself within a constellation of shifting relationships (an old flame, a new one, a long-lost relative). Mingling actors from the director\u2019s Buenos Aires repertory with stalwarts of New York\u2019s independent film scene (Keith Poulson, Dustin Guy Defa, Dan Sallitt), Hermia and Helena offers the precise gestures, mercurial moods, and youthful energies of all Pi\u00f1eiro\u2019s cinema, with an emotional depth and directness that make this his most mature work yet.<\/p>\n

I, Daniel Blake<\/strong>
\n Directed by Ken Loach<\/strong>
\nUK, 2016, 100m
\nU.S. Premiere
\nUnable to work after suffering a heart attack, Daniel (Dave Johns) must apply to the government for benefits. But with the seemingly endless documentation he has to provide, his lack of familiarity with computers, and the condescending attitudes of the functionaries to whom he must repeat the same information in one soul-killing encounter after another, he is all but defeated from the beginning, as is his new comrade in misery, Katie (Hayley Squires). English director Ken Loach\u2019s thoroughly shattering film, which won the Palme d\u2019Or at this year\u2019s Cannes Film Festival, will strike a chord with anyone who has ever tried to negotiate their way through the labyrinth of bureaucracy. A Sundance Selects release.<\/p>\n

Julieta<\/strong>
\n Directed by Pedro Almod\u00f3var<\/strong>
\nSpain, 2016, 99m
\nSpanish with English subtitles
\nPedro Almod\u00f3var explores his favorite themes of love, sexuality, guilt, and destiny through the poignant story of Julieta, played to perfection by Emma Su\u00e1rez (younger) and Adriana Ugarte (middle-aged), over the course of a 30-year timespan. Just as she is about to leave Madrid forever, the seemingly content Julieta has a chance encounter that stirs up sorrowful memories of the daughter who brutally abandoned her when she turned eighteen. Drawing on numerous film historical references, from Hitchcock to the director\u2019s own earlier Movida era work, Almod\u00f3var\u2019s twentieth feature, adapted from three short stories by Alice Munro (\u201cChance,\u201d \u201cSoon,\u201d and \u201cSilence\u201d), is a haunting drama that oscillates between disenchanted darkness and visual opulence. A Sony Pictures Classics release.<\/p>\n

Manchester by the Sea<\/strong>
\n Directed by Kenneth Lonergan<\/strong>
\nUSA, 2016, 137m
\nCasey Affleck is formidable as the volatile, deeply troubled Lee Chandler, a Boston-based handyman called back to his hometown on the Massachusetts North Shore after the sudden death of his brother, Joe (Kyle Chandler), who has left behind a teenage son (Lucas Hedges). This loss and the return to his old stomping grounds summon Lee\u2019s memories of an earlier, even more devastating tragedy. In his third film as a director, following You Can Count on Me (2000) and Margaret (2011), Kenneth Lonergan, with the help of a remarkable cast, unflinchingly explores grief, hope, and love, giving us a film that is funny, sharply observed, intimately detailed yet grand in emotional scale. An Amazon Studios Release.<\/p>\n

Moonlight<\/strong>
\n Directed by Barry Jenkins<\/strong>
\nUSA, 2016, 110m
\nBarry Jenkins more than fulfills the promise of his 2008 romantic two-hander Medicine for Melancholy in this three-part narrative spanning the childhood, adolescence, and adulthood of a gay African-American man who survives Miami\u2019s drug-plagued inner city, finding love in unexpected places and the possibility of change within himself. Moonlight offers a powerful sense of place and a wealth of unpredictable characters, featuring a fantastic ensemble cast including Andr\u00e9 Holland, Trevante Rhodes, Naomie Harris, and Mahershala Ali\u2014delivering performances filled with inner conflict and aching desires that cut straight to the heart. An A24 release.<\/p>\n

My Entire High School Sinking into the Sea<\/strong>
\n Directed by Dash Shaw<\/strong>
\nUSA, 2016, 75m
\nU.S. Premiere
\nNo matter your age, part of you never outgrows high school, for better or worse. Dash Shaw, known for such celebrated graphic novels as Bottomless Belly Button and New School, brings his subjective, dreamlike sense of narrative; his empathy for outsiders and their desire to connect; and his rich, expressive drawing style to his first animated feature. Packed with action but seen from the inside out, My Entire High School Sinking into the Sea is about friends overcoming their differences and having each other\u2019s backs in times of crisis, and its marvelously complex characters are voiced by Jason Schwartzman, Lena Dunham, Reggie Watts, Maya Rudolph, and John Cameron Mitchell.<\/p>\n

Neruda<\/strong>
\n Directed by Pablo Larra\u00edn<\/strong>
\nChile\/Argentina\/France\/Spain, 2016, 107m
\nSpanish and French with English subtitles
\nPablo Larra\u00edn\u2019s exciting, surprising, and colorful new film is not a biopic but, as the director himself puts it, a \u201cNerudean\u201d portrait of the great Chilean poet Pablo Neruda\u2019s years of flight and exile after his 1948 denunciation of his government\u2019s leadership. Larra\u00edn\u2019s heady blend of fact and fancy (the latter embodied in an invented character, straight out of detective fiction, played by Gael Garc\u00eda Bernal) is many things at once: a loving, kaleidoscopic recreation of a particular historical moment; a comical cat-and-mouse game; and a pocket epic. Featuring Luis Gnecco, a dead ringer for the poet and a formidable actor, alongside a terrific cast. A release of The Orchard.<\/p>\n

Paterson<\/strong>
\n Directed by Jim Jarmusch<\/strong>
\nUSA, 2016, 118m
\nU.S. Premiere
\nPaterson (Adam Driver) is a bus driver who writes poetry drawn from the world around him. Paterson is also the name of the New Jersey city where he works and lives with his effervescent and energetic girlfriend (Golshifteh Farahani). And Paterson is the title of the great epic poem by William Carlos Williams, whose spirit animates Jim Jarmusch\u2019s exquisite new film. This is a rare movie experience, set to the rhythm of an individual consciousness absorbing the beauties and mysteries and paradoxes and joys and surprises of everyday life, at home and at work, and making them into art. An Amazon Studios release.<\/p>\n

Personal Shopper<\/strong>
\n Directed by Olivier Assayas<\/strong>
\nFrance, 2016, 105m
\nFrench and English with English subtitles
\nU.S. Premiere
\nKristen Stewart is the medium, in more ways than one, for this sophisticated genre exploration from director Olivier Assayas (Clouds of Sils Maria). As a fashion assistant whose twin brother has died, leaving her bereft and longing for messages from the other side, Stewart is fragile and enigmatic\u2014and nearly always on-screen. From an opening sequence in a haunted house with an intricately constructed soundtrack to a high-tension, cat-and-mouse game on a trip from Paris to London and back set entirely to text messaging, Personal Shopper brings the psychological and supernatural thriller into the digital age. An IFC Films release.<\/p>\n

The Rehearsal<\/strong>
\n Directed by Alison Maclean<\/strong>
\nNew Zealand, 2016, 75m
\nU.S. Premiere
\nAlison Maclean (Jesus\u2019 Son) returns to her New Zealand filmmaking roots with a multilayered coming-of-age story about a young actor (James Rolleston) searching for the truth of a character he\u2019s playing onstage and the resulting moral dilemma in his personal life. Set largely in a drama school, featuring Kerry Fox as a diva-like teacher who tries to shape her student\u2019s raw talent, The Rehearsal, adapted from the novel by Eleanor Catton, demystifies actors and acting in order to reveal the moments where craft becomes art. The same happens with Maclean\u2019s understated but penetrating filmmaking. Her concentration on the quotidian yields a finale that borders on the sublime.<\/p>\n

Sieranevada<\/strong>
\n Directed by Cristi Puiu<\/strong>
\nRomania, 2016, 173m
\nRomanian with English subtitles
\nU.S. Premiere
\nA decade after jumpstarting the Romanian New Wave with The Death of Mr. Lazarescu, Cristi Puiu returns with a virtuosic chamber drama set largely within a labyrinthine Bucharest apartment where a cantankerous extended family has gathered forty days after its patriarch\u2019s death (and three days after the Charlie Hebdo attacks in Paris). Rituals and meals are anticipated and delayed, doors open and close, and the camera hovers at thresholds and in corridors. As claustrophobia mounts, heated, humorous exchanges\u2014about the old Communist days and the present age of terror\u2014coalesce into a brilliantly staged and observed portrait of personal and social disquiet.<\/p>\n

Son of Joseph \/ Le fils de Joseph<\/strong>
\n Directed by Eug\u00e8ne Green<\/strong>
\nFrance\/Belgium, 2016, 113m
\nFrench with English Subtitles
\nU.S. Premiere
\nThe American-born expatriate filmmaker Eug\u00e8ne Green exists in his own special artistic orbit. All Green\u2019s films share a formal rigor and an increasingly refined modulation between the playfully comic, the urgently human, and the transcendent, and they are each as exquisitely balanced as the baroque music and architecture that he cherishes. His latest movie, Son of Joseph, is perhaps his most buoyant. A nativity story reboot that gently skewers French cultural pretensions, it features newcomer Victor Ezenfis as a discontented Parisian teenager in search of a father, Mathieu Amalric and Fabrizio Rongione as his, respectively, callous and gentle alternative paternal options, and Natacha R\u00e9gnier as his single mother. A Kino Lorber Films release.<\/p>\n

Staying Vertical \/ Rester vertical<\/strong>
\n Directed by Alain Guiraudie<\/strong>
\nFrance, 2016, 100m
\nFrench with English subtitles
\nNorth American Premiere
\nL\u00e9o (Damien Bonnard), a blocked filmmaker seeking inspiration in the French countryside for an overdue script, begins an affair with a shepherdess (India Hair), with whom he almost immediately has a child. Combining the formal control of his 2013 breakthrough Stranger by the Lake with the shapeshifting fabulism of his earlier work, Alain Guiraudie\u2019s new film is a sidelong look at the human cycle of birth, procreation, and death, as well as his boldest riff yet on his signature subjects of freedom and desire. The title has the ring of both a rallying cry and a dirty joke\u2014fitting for a film that is, above all else, a rumination on what it means to be a human being, a vertical animal. A Strand Releasing release.<\/p>\n

Things to Come \/ L\u2019Avenir<\/strong>
\n Directed by Mia Hansen-L\u00f8ve<\/strong>
\nFrance\/Germany, 2016, 100m
\nFrench with English subtitles
\nIn the new film from Mia Hansen-L\u00f8ve (Eden), Isabelle Huppert is Nathalie, a Parisian professor of philosophy who comes to realize that the tectonic plates of her existence are slowly but inexorably shifting: her husband (Andr\u00e9 Marcon) leaves her, her mother (Edith Scob) comes apart, her favorite former student decides to live off the grid, and her first grandchild is born. Hansen-L\u00f8ve carefully builds Things to Come around her extraordinary star: her verve and energy, her beauty, her perpetual motion. Huppert\u2019s remarkable performance is counterpointed by the quietly accumulating force of the action, and the result is an exquisite expression of time\u2019s passing. A Sundance Selects release.<\/p>\n

Toni Erdmann<\/strong>
\n Directed by Maren Ade<\/strong>
\nGermany, 2016, 162m
\nGerman with English subtitles
\nAn audacious twist on the screwball comedy\u2014here, the twosome is an aging-hippie prankster father and his corporate-ladder-climbing daughter\u2014Toni Erdmann delivers art and entertainment in equal measure and charmed just about everyone who saw it at the Cannes Film Festival this year. Maren Ade’s dazzling script has just enough of a classical comedic structure to support 162 minutes of surprises big and small. Meanwhile, her direction is designed to liberate the actors as much as possible while the camera rolls, resulting in sublime performances by Sandra H\u00fcller and Peter Simonischek, who leave the audience suspended between laughter and tears. A Sony Pictures Classics release.<\/p>\n

The Unknown Girl<\/strong>
\n Directed by Jean-Pierre and Luc Dardenne<\/strong>
\nBelgium, 2016, 106m
\nIt\u2019s a few minutes after closing time in a medical clinic in Seraing, Belgium. The buzzer rings. Doctor Jenny (Ad\u00e8le Haenel) tells her assistant (Olivier Bonnaud) to ignore it. She is later informed that the girl she turned away was soon found dead on the riverside. From that moment, Jenny becomes a different kind of doctor, diagnosing not just her dispossessed patients\u2019 illnesses but also the greater malady afflicting her community. And this is a different kind of movie for Luc and Jean-Pierre Dardenne, in which the urgency pulses beneath the seemingly placid surface, and it is all keyed to Haenel\u2019s extraordinary performance. A Sundance Selects release.<\/p>\n

Yourself and Yours<\/strong>
\n Directed by Hong Sangsoo<\/strong>
\nSouth Korea, 2016, 86m
\nKorean with English subtitles
\nU.S. Premiere
\nProlific NYFF favorite Hong Sangsoo boldly and wittily continues his ongoing exploration of the painful caprices of modern romance. Painter Youngsoo (Kim Joo-hyuk) hears secondhand that his girlfriend, Minjung (Lee Yoo-young), has recently had (many) drinks with an unknown man. This leads to a quarrel that seems to end their relationship. The next day, Youngsoo sets out in search of her, at the same time that Minjung\u2014or a woman who looks exactly like her and may or may not be her twin\u2014has a series of encounters with strange men, some of whom claim to have met her before . . . Yourself and Yours is a break-up\/make-up comedy unlike any other, suffused with sophisticated modernist mystery.<\/p>\n","protected":false},"excerpt":{"rendered":"

Barry Jenkins’ Moonlight Among Main Slate of the 54th New York Film FestivalPosted by Wilson Morales August 9, 2016 The Film Society of Lincoln Center announces the 25 films for the Main Slate of the 54th New York Film Festival, September 30 \u2013 October 16. NYFF Director and Selection Committee Chair Kent Jones said, \u201cThe […] More<\/a><\/p>\n","protected":false},"author":8,"featured_media":76656,"comment_status":"1","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16,143],"tags":[],"reaction":[],"class_list":{"0":"post-76625","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-news","8":"category-read"},"yoast_head":"\nBarry Jenkins' Moonlight Among Main Slate of the 54th New York Film Festival - blackfilm.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.blackfilm.com\/read\/barry-jenkins-moonlight-among-main-slate-54th-new-york-film-festival\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Barry Jenkins' Moonlight Among Main Slate of the 54th New York Film Festival\" \/>\n<meta property=\"og:description\" content=\"Barry Jenkins’ Moonlight Among Main Slate of the 54th New York Film FestivalPosted by Wilson Morales August 9, 2016 The Film Society of Lincoln Center announces the 25 films for the Main Slate of the 54th New York Film Festival, September 30 \u2013 October 16. 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