New York Film Festival 2025 Roundup – Margaret Barton-Fumo reports

This year, the 63rd annual New York Film Festival boasted an impressive roster of women-produced and women-prominent features, spanning across a variety of different genres. In general, this year’s more anticipated, big-ticket films turned out to be less remarkable than some of the quieter releases, as we’ll address in this roundup. The festival opener, for example, Luca Guadagnino’s After the Hunt, while an apt showcase for Julia Roberts, was a coolly received treatise on cancel culture told from within the confines of the ivory tower of academia. Other films in the Main Slate, like Kelly Reichardt’s The Mastermind and Joachim Trier’s Sentimental Value, while more understated features, received greater praise from audiences and critics alike.

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A PRIVATE LIFE (NYFF 2025) – Review by Margaret Barton-Fumo

A Private Life is an engaging but purposefully jumbled film, following Jodi Foster’s Dr. Lilian Steiner, a confused expat psychoanalyst whose life turns upside-down when one of her patients unexpectedly commits suicide. Living and working in a gorgeous, book-filled Parisian apartment, Lilian tends to her patients distractedly, relying perhaps too heavily on her outdated mini-disc recorder. Abruptly dumped by her longstanding patient Pierre in favor of a hypnotist who apparently helped him quit smoking, Lilian handles the sudden rejection with a slightly befuddled ease—but when she discovers that another one of her patients, Paula has recently died, her reaction is more profound.

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A PRIVATE LIFE (TIFF 2025) Review by Leslie Combemale

A Private Life​ is a genre-bending mashup of an absurdist comedy, a romance, a murder mystery, and a surreal examination of self and mortality, It follows expat therapist Lilian as she falls down an emotional and intellectual rabbit hole, the result of losing a longterm client to suicide. A stoic woman who takes self control to the logical absurdity, she finds she can’t stop crying​.

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