NYFF 2026 Main Slate Wrap Up – Margaret Barton-Fumo reports

Out of thirty-four films in the festival’s Main Slate, nine were directed by women, or just under 25%. More promising, a dozen male-directed films within the Main Slate focused on women’s themes and featured women in leading roles. Out of the festival’s three pinnacle films, the closing night selection, 14th, was directed by Ava DuVernay—although the premiere courted some controversy as many critics and viewers were uneasy with the director’s liberal use of AI to animate historical images. Aside from this definite flaw, 14th makes some effective points, paying special attention to contemporary threats to birthright citizenship under the Trump administration while employing a historical perspective. Several other women-directed or co-directed documentaries made waves within the Main Slate: Yuval Abraham and Rachel Szor’s Naza, is a ruthless, clear-eyed and methodical takedown of Israeli drone warfare and genocide, while Julia Loktev’s My Undesirable Friends: Part II—Exile follows up with the subjects from Part I, the Russian journalists who were forced to flee their own country.

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LA GRADIVA (NYFF 2026) – Review by Margaret Barton-Fumo

Already an accomplished cinematographer, the young French director Marine Atlan recently burst onto the international film scene at this year’s New York Film Festival with her debut feature, the highly acclaimed La Gradiva. Focusing on a group of late teens on a school trip to the ruins of Pompeii, Atlan’s film ebbs and flows with the rhythms of its young subjects, eventually building into a surprising moment of tragedy. Closely attuned to schoolteacher Mme Mercier (Antonia Buresi)’s struggles as a well-meaning educator, Atlan taps into some ancient truths while observing her youthful, energetic leads. It’s admirable for a first-time director to follow her gut so confidently, and La Gradiva will surely have audiences discussing the film—not unlike its spirited subjects—for some time to come.

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ALL OF A SUDDEN (NYFF 2026) – Review by Margaret Barton-Fumo

It’s truly a delight to watch friendships develop and flourish in this film, with the two “Marie”s (Virginie Efira and Tao Okamoto) at the center of an impressive ensemble cast. Ryusuke Hamaguchi’s approach is sometimes dry and academic, but working in concert with cinematographer Alan Guichaoua, the director achieves an emotional, effective catharsis. The connection between Efira and Okamoto is pure kismet, transforming Hamaguchi (and co-writer Léa Le Dimna)’s heady dialogue into a moving experience. Those already familiar with Hamaguchi’s work will certainly adore this film, his French-language debut, which is also a good entry point for those who are new to his work. All of a Sudden is a complex, heartfelt film, sure to inspire thoughts and emotions that will continue to resonate after the end credits roll.

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AMARGA NAVIDAD/BITTER CHRISTMAS (NYFF 2026) – Review by Diane Carson

Noted Spanish director Pedro Almodóvar is at heart an experimental filmmaker working in a narrative world, often seamlessly integrating his dual impulses with occasional bumps here and there (Parallel Mothers, 2021, a case in point.) However, in Amarga Navidad/Bitter Christmas, Almodóvar blends both appetites masterfully in a semi-autobiographical, nonchronological exploration of creativity. In it, to overcome his writer’s block, celebrated film director Raúl Rossetti (Leonardo Sbaraglia) borrows surreptitiously and invasively from closest friends’ lives in order to develop his future film’s screenplay, also titled Amarga Navidad/Bitter Christmas. Exploring the interplay between fictitious and derivative stories, Almodóvar presents parallel accounts, the actual events occurring over a long weekend in December 2004 in Madrid with Raúl’s assembled version written in the summer of 2026.

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NOWHERE TO LAY MY EYES (NYFF 2026) – Review by Margaret Barton-Fumo

There is a lot of eating and drinking, as is par for the course in Hong Sangsoo’s films. Nowhere to Lay My Eyes unfolds at a comfortable pace, punctuated by nuanced, often illuminating conversations. Small musings can lead to revelations over the course of mere minutes, usually aided by glasses of Soju. Devoteés of Hong’s cinema tend to revel in these familiar beats, and here Nowhere to Lay My Eyes pleasingly delivers.

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ROSE (NYFF 2026) – Review by Margaret Barton-Fumo

Markus Schleinzer’s third feature Rose is a formal marvel, as well as an excellent vehicle for its lead actor, the always impressive Sandra Hüller. Set in the 16th century during the Thirty Years War, Hüller plays a world-weary woman who disguises herself as a male soldier and sets out to claim a fallen associate’s inheritance.

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PAPER TIGER (NYFF 2026) – Review by Diane Carson

A get rich quick scheme tears a Jewish family apart in 1986 Queens, New York. Ex-NYPD cop Gary Pearl and his brother Irwin, an engineer, husband and father, become involved with Russian operatives. Quickly becoming a nightmare, it begins as a beneficial financial agreement to follow federal regulations in disposal of oil drums containing toxic waste at the Gowanus Canal. When the Russian criminals opt for illegal dumping, which they always intended, the entire Pearl family, including Irwin’s two sons, become a threat to be intimidated into capitulation or eliminated.

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FATHERLAND (NYFF 2026) – Review by Diane Carson

Polish director Pawel Pawlikowski’s Fatherland reminds viewers of the attentive commitment of Thomas Mann’s daughter Erika (an always superb Sandra Hüller) to her father (Hanns Zischler). In fact, the formidable Erika enjoyed a full life as an actress, writer, and rally driver. In 1946 she reported on the Nuremberg war crimes trials before traveling to California to care for Thomas who was being treated for lung cancer. In Fatherland’s 1949 Germany Erika and Thomas drive in their black Buick sedan across the ruins of Germany, from Frankfurt to Weimer, from the former city under US control to the latter under Soviet domination where Thomas delivers a passionate, courageous anti-Nazi address advocating freedom from tyranny.

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THEY’RE HERE (NYFF 2026) – Review by Diane Carson

Unfolding in the style of horror film, which it is, directors Laura Poitras’ and Rachel Lauren Mueller’s They’re Here documents ICE’s illegal, combative activity in Minneapolis, Minnesota, this past winter. Immediately mimicking the menacing, stalking point-of-view shots that evoke anxiety in that genre of films, the association is apt given ICE’s threatening, frightening, even terrorizing men, women, and children. In a revealing, informative 25 minutes, They’re Here presents the array of tactics used by ICE agents in military uniforms and, almost universally, with partial masks covering their faces, thereby concealing their identity.

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UNION TOWN (TIFF 2026) – Review by Valerie Kalfrin

Ostensibly about the power of unions and workers uniting for better wages and improved job conditions in the microcosm of New York City, Union Town truly creates empathy and even admiration for the people who keep the Big Apple and America moving, one delivery at a time.

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