NYFF Currents Gives Tala Hadid’s Bardi a World-Premiere Center Slot

That is a lot of movie, in every sense. Llinás, whose La Flor remains a byword for scale among adventurous festivalgoers, is not the kind of name you drop casually into a schedule. A 330-minute Borges film asks for a different kind of attention than most fall festival programming does. It also gives NYFF Currents a big, eccentric anchor away from the usual prestige-season machinery.

The same slate includes Bruno Dumont’s Red Rocks, which THR described as an observational yet fanciful film about children on the French Riviera, and John Torres’ The Remotes, identified as a neo-noir. Sebastian Brameshuber’s London follows a driver and ride sharers along the Westautobahn. Luise Donschen’s Tomorrow a Long Time Ago is a supernatural story set amid unemployment and social estrangement during German reunification in 1990.

That range is the draw. These are not all making the same pitch to the same viewer. Some sound severe, some playful, some built around drift, some around pressure. A good Currents list should make you rearrange your appetite.

Photos: Montclair Film · CC BY 4.0 · source; Gabriel Hutchinson · CC BY-SA 4.0 · source

Beatrice Gibson, Ana Vaz and Tiffany Sia Bring the Political Weather In

Beatrice Gibson’s At Night is listed by THR as a feminist meditation, while The Film Stage noted it as a recent Locarno title. Ana Vaz’s Hanabi is set in contemporary Japan and described by THR as surreal. Tiffany Sia’s Overt Listening, another world premiere according to The Film Stage, takes on the Cold War legacy of China and Taiwan in a work THR called serene but sonically complex.

Those descriptions point toward films where politics may arrive through sound, rhythm and perception rather than speechifying. That can be thrilling when the form has teeth. It can be patience-testing when it drifts into vapor. Currents has room for both outcomes, and that is part of the bargain.

Jacqueline Lentzou’s A Day in the Life of Jo: Chapter Phaedra is also in the section; THR described it as an expansive coming-of-age story. Éric Baudelaire’s For the Moon will world premiere as a collaboration with children at the National Institute for Blind Youth in Paris. Ted Fendt’s Foreign Travel follows four friends across a year in Berlin as they engage with novels by Anna Maria Ortese.

These are the kinds of premises that can sound modest until they are on a screen. Friendship over a year. Children making a film with Baudelaire. A coming-of-age chapter with a mythic name attached. Currents is often where small frames start behaving strangely.

Photos: Raph_PH · CC BY 2.0 · source; Harald Krichel · CC BY-SA 4.0 · source

Laura Poitras and Rachel Lauren Mueller Lead a Loaded Shorts Slate

The shorts programs may be the sharpest part of the announcement. THR reported that Laura Poitras and Rachel Lauren Mueller’s They’re Here looks at clashes between ICE agents and anonymous Minneapolis residents, using dashcam footage, crowdsourced data and POV cinema.

That is a blunt, urgent premise, and Poitras’ presence will draw attention beyond the usual shorts audience. The Film Stage placed They’re Here in Currents Program 6: Out of the Present, alongside Ben Russell’s Another Earth, Vika Kirchenbauer’s This Suffocating Now, and Morne Fortune by Mara Chavez and doris duhennois.

The Film Stage also reported shorts by Johann Lurf, Nathan Silver, Ben Russell, Adam Piron, Kevin Jerome Everson, Peggy Ahwesh, Martine Syms, Simon Liu and others. Its listing puts Lurf’s 70mm work Forever…Forever in Currents Program 2: The Visible Invisible, and Nathan Silver’s Sounds From Home before Sallitt’s What Can’t Be Mentioned.

Shorts sections can feel like homework when festivals bury them as filler. This one reads more like a second festival inside the first, with names that reward viewers willing to give an hour to unfamiliar shapes.

NYFF Dates, Tickets and the Camper Restoration

NYFF’s 2026 edition runs September 25 through October 12. The Film Stage reported that passes are on sale now, with single tickets set to go on sale September 15 at noon.

One Currents title also crosses into Revivals: Fred Camper’s Suicide Note. THR reported that NYFF will world premiere a new restoration of the diary-like film, shot in New York in the 1970s and intended to be slightly different at each screening.

That last detail is the kind of thing Currents exists to protect. A film that changes from screening to screening resists the tidy idea of a festival title as fixed product. It asks the audience to accept event, accident and version as part of cinema. In a lineup led by Bardi and crowded with Reygadas, Sallitt, Poitras, Dumont and Llinás, Camper’s restored, mutable Suicide Note may be the quietest warning on the schedule: some films still refuse to stay put.