visit new yorker films on facebook
 
Filmmaker Feeds
New Yorker Films Update

March 7, 2013



Black Girl Sembene Shadow and Act


Tambay A. Obenson kicks of Shadow and Act's "filmmaker's series" with
Ousmane Sembène's Black Girl. Follow the discussion at Shadow and Act.

Watch the trailer for Black Girl/La Noire de

BLACK_GIRL_trailer

Visit our Black Girl/La Noire de page here.

EXPAND
New Yorker Films Update

January 15, 2013



Nagisa Oshima


Nagisa Oshima passed away today. He was 80. One of New Yorker Films' great directors, Oshima may have been best known in the West for his Brechtian tour-de-force DEATH BY HANGING, his erotic masterpiece IN THE REALM OF THE SENSES, and the David Bowie/Tom Conti vehicle MERRY CHRISTMAS, MR. LAWRENCE. He was the most important figure in Japanese cinema since the classical era of Ozu, Mizoguchi, and Kurosawa. Often compared to the French New Wave and Godard in particular, Oshima had in fact moved parallel to (and often ahead of) European trends more than he followed them.

New Yorker's earliest Oshima acquisitions included 1965's YUNBOGI'S DIARY, MAN WHO LEFT HIS WILL ON FILM (1970) and THE CEREMONY (1971). Through the years CRUEL STORY OF YOUTH (1960), THE SUN'S BURIAL (1960), NIGHT AND FOG IN JAPAN (1960), DEATH BY HANGING (1968), DIARY OF A SHINJUKU THIEF (1969), BOY (1969), DEAR SUMMER SISTER (1972) and Oshima's last film, TABOO (1999) would also be released by New Yorker.

Complex, audacious, and dynamic, mixing violence, eroticism, politics, self-reflexivity, and dazzling camerawork, Nagisa Oshima's filmmaking will forever represent a seminal link between modernism and non-Western modes of perception.

Nagisa Oshima obituary

Watch the trailer for Taboo

TABOO trailer
Visit our Taboo page here.

EXPAND
January 3, 2013


Hors Satan museum of moving image momi

Programmed by Dennis Lim, editor of Moving Image Source; Rachael Rakes, Assistant Curator of Film; and David Schwartz, Chief Curator
T
First Look is the Museum’s annual showcase for inventive, groundbreaking new
international cinema. Many of the films in this year’s edition take the form of journeys—geographical, emotional, and artistic—and the series itself is a journey, with 26 works, feature-length and short films, from a dozen countries. The films are by established masters and emerging filmmakers, and almost all are New York premieres.

With its debut in 2012, First Look was instantly recognized as a vital new addition to New York’s film scene, an oasis of thoughtful and provocative filmmaking amid the hype and noise of the awards season. It is a great way for New York filmgoers to start the year, just ahead of the Sundance and Rotterdam film festivals. In its second year, First Look has expanded its breadth, with genre-defying and boundary-pushing works of all forms, demonstrating how cinematic creativity and depth can be found in modes as divergent as action movies and the avant-garde.

"Now in just its second year, the Museum of the Moving Image's First Look is already proving itself to be one of the most noteworthy curatorial efforts anywhere."—David Hudson, Fandor

Tickets for screenings (with the exception of opening night) are included with Museum admission ($12 adults / $9 students and senior citizens). A First Look series pass, allowing the holder admission to the Museum and all First Look screenings for the run of the series, will again be available. All screenings, with the exception of the opening event, are free for Museum members (members receive a discount on opening night tickets). Memberships start at $75 with benefits that include year-round free admission to the Museum and its programs, reservation privileges, and discounts on special programs.

Visit the museum's First Look HORS SATAN page here.

Buy tickets here.

HORS SATAN opens at Anthology Film Archives on January 18.

Visit our HORS SATAN page here.

Watch the trailer.
EXPAND
stills
stills
stills
stills

Adanggaman t>
For over forty-five years, New Yorker Films has been America's leading source for the films on the cutting edge of world cinema. The company was founded in 1965 by Daniel Talbot as an outgrowth of his legendary movie house, the New Yorker Theater. Unable to obtain several crucial foreign titles, Talbot was obliged to import them himself. Early acquisitions such as Bertolucci's BEFORE THE REVOLUTION, Godard's LES CARABINIERS, and Sembene's BLACK GIRL established New Yorker's still vital tradition of presenting the world's most innovative, artistically significant, and politically engaged films.

Controversial and challenging works considered untouchable by other distributors have been regularly taken on by New Yorker (and often turned into surprise hits), including Jacques Rivette's self-reflexive masterpiece CELINE AND JULIE GO BOATING, Chantal Akerman's feminist landmark JEANNE DIELMAN..., and Claude Lanzmann's monumental Holocaust documentary SHOAH, to mention just a few. Always on the alert for fresh talent and new trends, New Yorker Films was the primary force in introducing this country to the pioneering postmodernist New German cinema, the politically embattled Latin American cinema, and the postcolonial African cinema. It discovered the early breakthrough works of such now-celebrated filmmakers as Agnieszka Holland, Juzo Itami, Errol Morris, Wayne Wang, and Zhang Yimou. More recent acquisitions have explored exciting new frontiers in the Iranian, Asian, and Eastern European cinemas.

In addition to its theatrical premieres, New Yorker's strength is its ability to service the nontheatrical market, catering to the specialized needs of festivals, film society and classroom venues that fall beneath the radar of larger, more monolithic companies. The heart of New Yorker Films is a library of unsurpassed quality and depth. The library's range extends from restored classics to recent causes célèbres, from Oscar winners to offbeat gems. The New Yorker library is a major source for trailblazing works by international women filmmakers such as Claire Denis, Lucrecia Martel, Lisa Cholodenko, Agnes Jaoui, Susanne Bier, Euzhan Palcy, and Margarethe von Trotta. It also features essential titles by leading lights of the American indie renaissance. A distinctive feature of the library is its devotion to accumulating works by important individual directors -- a policy especially suited to retrospectives and university courses. Here you will find an extensive collection of films by such seminal cinéastes as Alea, Almodóvar, Godard, Herzog, Sembene, Straub, Tanner, and Zhang Yimou.

In 1989, New Yorker Films extended its tradition of quality into the video market.  An average of twenty new titles per year are released on DVD/Blu-ray, representing a broad selection of the best in classic, foreign, and independent cinema.

One of the more exciting recent developments at New Yorker Films is the creation of a new division called Metro Releasing, a genre division with the same discerning sensibilities of New Yorker past/present, that will also appeal to niche audiences.

In a time when the term "independent" has been loosely applied to subsidiaries of giant conglomerates, New Yorker stands as one of the most durable, important, and truly independent film distributors. In its fourth decade, New Yorker Films still represents the vanguard of film distribution in the United States.


For over forty-five years, New Yorker Films has been America's leading source
for the films that matter on the cutting edge of world cinema.

The company was founded in 1965 by Daniel Talbot as an outgrowth of
his legendary movie house, the New Yorker Theater. Unable to obtain
several crucial foreign titles, Talbot was obliged to import them himself. Early
acquisitions such as Bertolucci's BEFORE THE REVOLUTION, Godard's LES
CARABINIERS, and Sembene's BLACK GIRL established New Yorker's still vital
tradition of presenting the world's most innovative, artistically significant, and
politically engaged films.

Controversial and challenging works considered untouchable by other
distributors have been regularly taken on by New Yorker (and often turned into
surprise hits), including Jacques Rivette's self-reflexive masterpiece CELINE
AND JULIE GO BOATING, Chantal Akerman's feminist landmark JEANNE
DIELMAN..., and Claude Lanzmann's monumental Holocaust documentary
SHOAH, to mention just a few. Always on the alert for fresh talent and new
trends, New Yorker Films was the primary force in introducing this country to the
pioneering postmodernist New German cinema, the politically embattled Latin
American cinema, and the postcolonial African cinema. It discovered the early
breakthrough works of such now-celebrated filmmakers as Agnieszka Holland,
Juzo Itami, Errol Morris, Wayne Wang, and Zhang Yimou. More recent
acquisitions have explored exciting new frontiers in the Iranian, Asian, and
Eastern European cinemas.

In addition to its theatrical premieres, New Yorker's strength is its ability to
service the nontheatrical market, catering to the specialized needs of festivals,
film society and classroom venues that fall beneath the radar of larger, more
monolithic companies. The heart of New Yorker Films is a library of unsurpassed
quality and depth. The library's range extends from restored classics to recent
causes célèbres, from Oscar winners to offbeat gems. The New Yorker library
is a major source for trailblazing works by international women filmmakers such
as Claire Denis, Lucrecia Martel, Lisa Cholodenko, Agnes Jaoui, Susanne Bier,
Euzhan Palcy, and Margarethe von Trotta. It also features essential titles by
leading lights of the American indie renaissance. A distinctive feature of the
library is its devotion to accumulating works by important individual directors -
- a policy especially suited to retrospectives and university courses. Here you
will find an extensive collection of films by such seminal cinéastes as Alea,
Almodóvar, Godard, Herzog, Sembene, Straub, Tanner, and Zhang Yimou.

In 1989, New Yorker Films extended its tradition of quality into the video
market. An average of twenty new titles per year are released on DVD/
Blu-ray, representing a broad selection of the best in classic, foreign, and
independent cinema.

One of the more exciting recent developments at New Yorker Films is the

creation of a new division called Metro Releasing, a genre division with the same
discerning sensibilities of New Yorker past/present, that will also appeal to niche
audiences.

In a time when the term "independent" has been loosely applied to subsidiaries
of giant conglomerates, New Yorker stands as one of the most durable,
important, and truly independent film distributors. In its fourth decade, New
Yorker Films still represents the vanguard of film distribution in the United States.

4
PRIVACY POLICY 1. What information do we collect? We collect information from you when you subscribe to our newsletter or respond to a survey. When ordering or registering on our site, as appropriate, you may be asked to enter your name or e-mail address. You may, however, visit our site anonymously. 2. What do we use your information for? Any of the information we collect from you may be used in one of the following ways: —To administer a contest, promotion, survey or other site feature —To send periodic emailsNote: If at any time you would like to unsubscribe from receiving future emails, we include detailed unsubscribe instructions at the bottom of each email. 3. How do we protect your information? We implement a variety of security measures to maintain the safety of your personal information when you enter, submit, or access your personal information. 4. Do we disclose any information to outside parties? We do not sell, trade, or otherwise transfer to outside parties your personally identifiable information. This does not include trusted third parties who assist us in operating our website, conducting our business, or servicing you, so long as those parties agree to keep this information confidential. We may also release your information when we believe release is appropriate to comply with the law, enforce our site policies, or protect ours or others rights, property, or safety. However, nonpersonally identifiable visitor information may be provided to other parties for marketing, advertising, or other uses. 5. Third party links Occasionally, at our discretion, we may include or offer third party products or services on our website. These third party sites have separate and independent privacy policies. We therefore have no responsibility or liability for the content and activities of these linked sites. Nonetheless, we seek to protect the integrity of our site and welcome any feedback about these sites. 6. Childrens Online Privacy Protection Act Compliance We are in compliance with the requirements of COPPA (Childrens Online Privacy Protection Act), we do not collect any information from anyone under 13 years of age. Our website, products and services are all directed to people who are at least 13 years old or older. 7. Online Privacy Policy Only This online privacy policy applies only to information collected through our website and not to information collected offline. 8. Your Consent By using our site, you consent to our web site privacy policy. 9. Changes to our Privacy Policy If we decide to change our privacy policy, we will post those changes on this page. This policy was last modified on October 1, 2011 10. Contacting Us If there are any questions regarding this privacy policy you may contact us using the information below. New Yorker Films 220 East 23rd Street, Suite 403 New York, New York 10010 USA info@newyorkerfilms.com
Terms and Conditions of Use 1. Terms By accessing this web site, you are agreeing to be bound by these web site Terms and Conditions of Use, all applicable laws and regulations, and agree that you are responsible for compliance with any applicable local laws. If you do not agree with any of these terms, you are prohibited from using or accessing this site. The materials contained in this web site are protected by applicable copyright and trademark law. 2. Use License a. Permission is granted to download materials (promotional images and/or video) on New Yorker Films' web site for personal, promotional, non-commercial viewing only. This is the grant of a license, not a transfer of title, and under this license you may not: i. modify the materials; ii. use the materials for any commercial purpose iii. attempt to decompile or reverse engineer any software contained on New Yorker Films's web site; iv. remove any copyright or other proprietary notations from the materials; or b. This license shall automatically terminate if you violate any of these restrictions and may be terminated by New Yorker Films at any time. 3. Disclaimer a. The materials on New Yorker Films' web site are provided "as is". New Yorker Films makes no warranties, expressed or implied, and hereby disclaims and negates all other warranties, including without limitation, implied warranties or conditions of merchantability, fitness for a particular purpose, or noninfringement of intellectual property or other violation of rights. Further, New Yorker Films does not warrant or make any representations concerning the accuracy, likely results, or reliability of the use of the materials on its Internet web site or otherwise relating to such materials or on any sites linked to this site. 4. Limitations In no event shall New Yorker Films or its suppliers be liable for any damages (including, without limitation, damages for loss of data or profit, or due to business interruption,) arising out of the use or inability to use the materials on New Yorker Films' Internet site, even if New Yorker Films or a New Yorker Films authorized representative has been notified orally or in writing of the possibility of such damage. Because some jurisdictions do not allow limitations on implied warranties, or limitations of liability for consequential or incidental damages, these limitations may not apply to you. 5. Revisions and Errata The materials appearing on New Yorker Films' web site could include technical, typographical, or photographic errors. New Yorker Films does not warrant that any of the materials on its web site are accurate, complete, or current. New Yorker Films may make changes to the materials contained on its web site at any time without notice. New Yorker Films does not, however, make any commitment to update the materials. 6. Links New Yorker Films has not reviewed all of the sites linked to its Internet web site and is not responsible for the contents of any such linked site. The inclusion of any link does not imply endorsement by New Yorker Films of the site. Use of any such linked web site is at the user's own risk. 7. Site Terms of Use Modifications New Yorker Films may revise these terms of use for its web site at any time without notice. By using this web site you are agreeing to be bound by the then current version of these Terms and Conditions of Use. 8. Governing Law Any claim relating to New Yorker Films's web site shall be governed by the laws of the State of New York without regard to its conflict of law provisions. General Terms and Conditions applicable to Use of a Web Site.