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"Tomorrow's Promise," "The mother and the whore" and "Beirut the encounter" are some of the films in this section. Photo: NYFF
'Tomorrow's Promise,' 'The mother and the whore' and 'Beirut the encounter' are some of the films in this section. Photo: NYFF

New York Film Festival will showcase restored classics

The Revivals section for the 60th New York Film Festival will showcase renowned works that have been remastered, restored and digitally preserved.

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On Tuesday, Aug. 23, the New York Film Festival announced that from Sept. 30 to Oct. 16, it will have a special section that connects the historical importance of cinema and current cultural influence with world premieres of the most recognized classics of world cinema.

Highlights include No Fear No Die, Claire Denis' rarely screened second feature film, a compelling examination of the lives of immigrants in France; and Canyon Passage, the first of Jacques Tourneur's remarkable westerns, which Martin Scorsese called "one of the most mysterious and exquisite examples of westerns ever made."

The festival's selection also includes four short and medium-length films by pioneering filmmaker Edward Owens, who represents the so-called queer Black experimental genre, and Cauleen Smith's Drylongso, a milestone in American independent cinema.

The Revivals section aims to "continue to look beyond the recognized and revered classics and challenge the conventions of the canon," said Florence Almozini, director of programming at Film at Lincoln Center, which unveils productions by artists with diverse backgrounds and never-before-seen film details as a result of the restorations.

As part of its 60th anniversary celebration, the event will offer screenings in all five boroughs of New York City in partnership with the Alamo Drafthouse Cinema (Staten Island), BAM (Brooklyn Academy of Music) (Brooklyn), the Bronx Museum of the Arts (Bronx), Maysles Documentary Center (Harlem) and the Museum of the Moving Image (Queens).

The Revivals section is programmed by Florence Almozini and Dan Sullivan, with guidance from Gina Telaroli.

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