From David Lynch to John Cassavetes, Here’s What You Should Be Seeing This Weekend in New York

Sundays may be a "wan, stuff shadow of a robust Saturday" or a day of "forced leisure for folks who have no aptitude for leisure," according to Tom Robbins, but a weekend is still a weekend. The pleasure of a Friday night, the knowing the burdens of work week have a brief respite carry themselves into the following two days of leisure, and what better way to indulge in that leisure than heading to the cinema.  

And this weekend, there are more than enough wonderful films showing around New York for you to disappear into. Whether it’s your favorite Cassavetes or Lynch, the best of NYFF, or some of the most stunning new releases, there’s surely something to satisfy every cinematic appetite. I’ve founded up the best of what’s playing around the city, so peruse our list, and enjoy.  


IFC Center

Mulholland Drive
Ain’t Them Bodies Saints
Blue Caprice
Frances Ha
Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean
Dario Argento’s Dracula 3D
Muscle Shoals
The Getaway
I Used to be Darker
A River Changes Course
A Touch of Sin
Una ncohe
The Big Lebowski


The Killing of a Chinese Bookie
Enough Said
Blue Jasmine
Opening Night
A Woman Under the Influence

Landmark Sunshine

We Are What We Are
In a World…
Short Term 12
The Summit
Monty Python
The Room

Film Forum

The Young Girls of Rochefort
After Tiller
Let the Fire Burn
Une chambre en ville
West Side Story


Don Jon 
In a World… 
Bloodsucking Freaks
Muscle Shoals

Film Linc

Inside Llewyn Davis
Burning Bush 
The Wind Rises
American Promise  
NYFF Live: Claire Denis
L’Age D’Or
The Lusty Men
The Secret Life of Walter Mitty
They Live By Night
About Time
Abuse of Weakness
Jimmy P.
Written on the Wind
The Immigrant

Museum of the Moving Image

All Cats Are Brilliant
Man’s Favorite Sport?
Tiger Shark
Today We Live
Hello Anatolia
One Step Ahead
The Tree and the Swing
Kiss the Children


An Autumn Afternoon
The Dead Man and Being Happy
The Garden of the Finzi-Continis
The Night in Varennes
Shutter Island
The Name of the Rose

From Wong Kar-wai to John Waters, Here’s What You Should Be Seeing in New York City This Weekend

If Wong Kar-wai has taught us anything from his films, it’s that love is all a matter of timing. What we hold in the grandest of proportions can be unhinged from the smallest fraction of time, whether we’ve met the right person too late or allowed moments to slip through our fingers in an earlier life. But as tomorrow begins the start to another weekend, you’ll have two days of relaxation to reflect on the myriad ways time has put a expiration date on the many loves that pass in and out of our lives. 

Or, if you’re looking for a more productive and pleasurable way to spend your time, you can head down to the cinema and dive headfirst into Kar-wai’s world with two of his best films as well as his latest. But if you’re looking for something more, there’s plenty of classics invading our cinemas this weekend—from British psychodramas to sci-fi thrillers and chillers. And alongside, we’d got some of the best premieres of the summer that show just how amazing some of independent cinema’s new talent truly is. So whatever your film fancy, peruse our list, find yourself a king size bag of candy and curl up in a darkened theater tomorrow night. Enjoy.  


Film Forum

The Servant
The Patience Stone
Invasion of the Body Snatchers
The Fearless Vampire Killers
Creature From the Black Lagoon
The Incredible Shrinking Man

IFC Center

Ain’t Them Bodies Saints
The Canyons
The Best Little Whorehouse in Texas
El Topo
The Happy Sad
Prince Avalanche
A Perfect World
Una Noche
Devil’s Pass
Frances Ha


Blue Jasmine
Odds Against Tomorrow
Black Natchez
Fruitvale Station
The Spectacular Now
The World’s End
Nothing But a Man
Two Thousand Maniacs!
A Raisin in the Sun


The Jerk
Ain’t Them Bodies Saints
Fruitvale Station
In a World…
Caddy Shack
New York Ripper

Film Linc

Pink Flamingos
Short Term 12
Ain’t Them Bodies Saints
Game Change
The 17th Parallel
La Commune
The Pirate


Old Cats
The Student

Museum of the Moving Image

In the Mood for Love
Midnight Cowboy
Coogan’s Bluff
The French Connection
Across 110th Street

Landmark Sunshine

Drinking Buddies
Cutie and the Boxer
In a World…
The Spectacular Now
Short Term 12

Angelika Film Center

The Grandmaster
Blue Jasmine

Looking Back on Some of Our Favorite Women Working on Both Sides of the Camera

In modern cinema, men still do the majority of work behind the camera. Despite all the strides women have made toward workplace equality, men still make up the vast majority of writers and directors—which says little about the talent of women and much about the nature of Hollywood as a business. However, recent years have seen more and more women break through the system and onto our screens, gracing us with some of the most challenging and inspiring work in recent memory. And for many of those female voices, acting has provided a gateway into their filmmaking careers, setting them both in front of and behind the camera.

This week, Lake Bell’s directorial debut In a World… begins its theatrical run after winning the Best Screenwriting award when it played at Sundance this past winter. In honor of Bell’s film, we decided to take a look back on some of our favorite women in cinema who have succeeded both in front of the camera as actors and behind the camera as writers and/or directors. This is not an exhaustive list, and doesn’t include some of the incredible non-actor female filmmakers of both past and present, but it’s an inspiring overview of some incredibly talented women who have defied expectations and made an indelible mark on the world of movies.  

Take a look.


Lake Bell

In Front of the Camera: In a World…, Black Rock, How to Make It in America, It’s Complicated, Children’s Hospital
Behind the Camera: In a World…(writer/director), Worst Enemy (writer/director), El Tonto (writer/director), Children’s Hospital (director)  





Sofia Coppola

In Front of the Camera: The Godfather: Part III, CQ
Behind the Camera: Lost in Translation (writer/director), The Virgin Suicides (writer/director), Somewhere  (writer/director), Marie Antoinette (writer/director), The Bling Ring (writer/director), Lick the Star (writer/director)    

Julie Delpy

In Front of the Camera: Before Sunset, Before Sunrise, Before Midnight, 2 Days in New York, Broken Flowers, Three Colors: White
Behind the Camera: 2 Days in New York (writer/director), 2 Days in Paris (writer/director), Before Sunset (writer) Before Midnight (writer)  



Liv Ullman

In Front of the Camera: Persona, Scenes From a Marriage, Cries & Whispers, The Passion of Anna, Hour of the Wolf
Behind the Camera: Miss Julie (upcoming) (writer/director), Kristin Lavransdatte (writer/director), Sofie (writer/director), Faithless (director)  


Sarah Polley 

In Front of the Camera: Don’t Come Knocking, eXistenz, Go, My Life Without Me, Dawn of the Dead, Mr. Nobody
Behind the Camera: Stories We Tell (writer/director), Take This Waltz (writer/director), Away From Her (writer/director), I Shout Love (writer/director)  


Jodie Foster

In Front of the Camera: Silence of the Lambs, A Very Long Engagement The Beaver, Contact, Nell, Shadows and Fog, Carnage, Bugsy Malone
Behind the Camera: The Beaver (director), Home for the Holidays (director), Money Monster (upcoming), Orange is the New Black (director)


Elaine May

In Front of the Camera: Luv, In the Spirit, Small Time Crooks
Behind the Camera: Primary Colors (writer), The Birdcage (writer), Reds (writer), Heaven Can Wait (writer), Mikey and Nicky (writer/director), Ishtar (writer/director), The Heartbreak Kid (writer/director), A New Leaf (writer/director)    

Andrea Arnold

In Front of the Camera: Get Fresh, No 73, 7T3
Behind the Camera: Wuthering Heights (writer/director), Fish Tank (writer/director),  Red Road (writer/director), Wasp (writer/director), No 73 (writer/director)  

Penny Marshall

In Front of the Camera: Alice Upside Down, Saturday Night Live, Laverne & Shirley, Happy Days Behind the Camera: Riding in Cars With Boys (director), A League of Their Own (director), Awakenings (director), Big (director)



Miranda July

In Front of the Camera: The Future, Me You and Everyone We Know, Jesus’ Son Behind the Camera: The Future (writer/director), Me You and Everyone We Know (writer/director), Are You the Favorite Person of Anybody? (writer/director)


Greta Gerwig

In Front of the Camera: Frances Ha, To Rome With Love, Damsels in Distress, Greenberg, You Won’t Miss Me, Nights and Weekends, Hannah Takes the Stairs
Behind the Camera: Nights and Weekends (writer/director), Hannah Takes the Stairs (writer), Frances Ha (writer), Northern Comfort (writer)  


Angelina Joe

In Front of the Camera: Changeling, A Mighty Heart, The Good Shepard, Girl Interrupted, Lara Croft Behind the Camera: In the Land of Blood and Honey (writer/director), A Place in Time (director), Unbroken(director)    

Lena Dunham

In Front of the Camera: Girls, Tiny Furniture
Behind the Camera: Girls (writer/director), Tiny Furniture (writer/director)



Mira Nair

In Front of the Camera: Mississippi Masala, The Perez Family  
Behind the Camera: Salaam Bombay! (writer), Monsoon Wedding (director), The Namesake (director), Vanity Fair (director), The Reluctant Fundamentalist (director)  


Mia Hansen-Løve

In Front of the Camera: Les destinées, Late August, Early September  
Behind the Camera: Goodbye First Love (writer/director), Father of My Children (writer/director), Tout est pardonné (writer/director)  


Brit Marling

In Front of the Camera: Another Earth, The East, Arbitrage, Sound of My Voice Behind the Camera: Another Earth (writer), Sound of My Voice (writer), The East (writer)

Lake Bell on Exploring the Female Voice in Her Feature-Length Debut ‘In a World…’

Looking back on some of the most enjoyable comedies of the past, like Hal Ashby’s Shampoo or Paul Mazursky’s Bob & Carol & Ted & Alice, it’s not only their enjoyable essence that made them memorable, but the way they seamlessly blended the comical with the dramatic while delivering a larger social commentary. And with her directorial debut In a World … writer, actress, and filmmaker Lake Bell harkens back to that sentiment to create a truly delightful film about the under-exposed world of the voiceover industry. Known as an actress for her myriad roles in both film and television, Bell’s first feature pays tribute to her life-long obsession with the human voice and showcases not only her many talents as an actor but a refreshing new female voice in film, winning her the Best Screenplay award at Sundance this past January.

In the film, Bell plays Carol, an emotionally-stunted but passionate vocal coach who longs to climb the ranks of the voiceover world but lives in the shadows of her movie trailer legend father, Sam (played by Fred Melamed). But after serendipitously finding herself in a position to be the voice of the next generation, Carol is suddenly in competition with her father amid the sexist world of movie trailer voiceovers. Adding another layer to the family dysfunction is her wonderful supporting cast of Michalea Watkins and Rob Corddry as her sister and brother-in-law who face a schism in their relationship and are faced to explore their commitment to one another. Rounding out the cast is Demetri Martin, Nick Offerman, Ken Marino, and Tig Notaro, who all play perfectly in Bell’s charming world that places us in a Los Angeles that feels contemporary yet untethered to a specific time. 
Yesterday, I sat down with a few other writers to chat with Bell about her love for voices, conveying a message without being preachy, and relieving her film of anything too hip.
You’ve been fascinated with the ability of the human voice your whole life. What was the inception of the idea for writing the film?

It started from an organic place, because I was obsessed with voices, but also just the vocal mechanism as a form of expression. Also, it was the ultimate acting mechanism—you could be anybody, especially when it comes to acting, it becomes the tool that allows you to be any nationality, any social nouveau, or any gender for that matter. In the movie there’s a fun fact where Ken Marino is constantly talking on speaker phone to his agent whose this big ol fat Jewish dude, and that’s played by me. So I already used this as a platform to eek out another opportunity to do a voiceover character. But I really do, with genuine appreciation, love voiceover and I think probably started in earnest when I was younger just doing dialects and accents for my family. It was like a dinner party trick, some old dude was like [in an raspy old-man voice] “You have a good ear, you should listen to that.” So I think honing in on it and it being commended in some respect made it an obsession. Then I started collecting accents, so if I heard someone with an accent I’d peak up. And living in New York, that’s a normal thing. We live in a melting pot of the most incredible accents. So I took that to heart .
Flash forward to going to drama school in England, that’s a super intensive look at voice and sound. In the first year of drama school you don’t even get to put on plays—you’ve got a bunch of precocious assholes who want to put on plays—but you don’t get to do any of that, you just have to think about your vocal chords and how they relate to your breath and act like a tree and things like that. But I actually love the vocal training and it makes you so vocally self-aware. I liked injecting Carol with that sort of self-awareness so that she could be haunted by a current vocal trend that is prevalent in our society now—the sexy baby vocal virus. So it all sutured together in that way. 
The film manages to combine elements of the comedy, drama, and romance really seamlessly, making it hard to pinpoint in terms of genre but very genuine because life encompasses all those sentiments and is never set in one way.

It’s funny, I had heard some comments about it being a romantic comedy and I would shun that word because—although I love romantic comedies—it’s just not that. It’s just a comedy, and because it’s earnest and about real people, I guess people say: is that a dramedy? But that the juggle between romance and drama and comedy is delicate and I think the movies that I grew up with, the ones that inspired me, all successfully represent those three very profound and serious important sub-groupings versus just one. So whether it’s King of Comedy or Hannah and Her Sisters or Bob & Carol & Ted & Alice, they all surround very real circumstances. Of course in my movie there’s not life or death circumstances,  but because of the characters living their own lives in it, they would beg to differ that these are very high stakes. I’m interested in real feelings and I’m not a great sketch writer, that’s not what I do, that’s not what I feel comfortable in. I can direct it, like on Children’s Hospital, as an observer and player of it that feels comfortable but I wouldn’t necessarily write it. 
Although you didn’t know that you would be the one to direct this at first, did you write it with yourself in mind to give yourself the opportunity to play a really interesting comedic female role that you weren’t necessarily finding through your work as an actress?
To star in a comedy, as a woman at least, you have to be a pretty big star. And that opportunity had not presented itself to me. But full disclosure, when I first started writing it, I didn’t necessarily write it for me. But upon sort of acting into the meat of it and starting to develop it in a serious way, I felt like I was the only person that could play it.
It’s a perfect showcase for the vocal work you’ve been doing your whole life.

And it’s so specified, like whose going to feel as passionate about a Bulgarian accent? I don’t know that anyone would be quite right for it, but I never wanted to cast anyone that wasn’t right for the role, even my friends that are in the film. I mean, I want to put my friends in everything because I think they’re talented and amazing, and you want to surround yourself with great people because it’s a long haul making a movie. You’re married to these people for years, it’s all encompassing and also for the actual 20 days to shoot it, it’s intense and you want to make sure your team is good and there’s no sort of diva assholes. People where you’re like, “Why are bitching? We’re making a movie this is like the coolest thing they you could ever do!” So I didn’t have any jerks or turkeys on set. 
Carol and Sam both had a very idiosyncratic style of dress, both stuck in the past a bit. Was their wardrobe an intentional choice to display something further about their characters?

She certainly dons a look that I think represents a modicum of arrested development. I think she and Sam are a little bit stunted and the last time they can remember things being good and the effective was many yesterdays ago. So for instance, Sam, who was big 10 years ago because they were still doing epics and now his relevance as a voiceover artist is dated now, the last time he was killing it was that time, so all of his clothing—his velour suits, his 90s corvette and his decor—stayed in that place. And the same with Carol. I have friends like this and I came to relate to the sentiment of, the last time I was feeling good about things was when I was listening to Nirvana in college trying to figure out who I was and everything was open and there were possibilities, there was promise in each day like, “Oh yeah I’m eventually going to do it,” but then all of a sudden you haven’t done it and you found yourself in a position of not only doing the same things but wearing the same things to hold onto youth. 
Wrapped in this comedy is a really interesting message about the roles of men and women in the voiceover industry. Having had your own experiences in that world, was that something you’ve wanted to explore for a while now?

Well, I didn’t want to be overly preachy with the message of the movie, but it needs to be said that there are some messages involved and sewn into the story—but mainly because it’s an interesting conversation, not necessarily to yell at people or soap box. It’s comedy first and then oops, there’s a message. And Fred, he would always attest to the fact that in the movie trailer industry, there are no women, there’s no hyperbole involved in the depiction of that. There are no ladies who do it, for myriad of reasons—one could be that there’s a fear of change because movies cost so much money nowadays and if you’re going to market them, you just need butts in seats. So you don’t want to rupture the template that’s been working for so many years, which is a male omniscient voice, authoritative figure. There have been tests that maybe female voices don’t hold the same attention that a deep male voice does and that’s interesting to me. I wanted to illuminate that. 
I genuinely don’t understand it, even if there were tests. If there’s a tampon commercial, it’s not going to be voiced by a male because that would be weird because it’s an authoritative female voice but then when you hear a truck commercial it’s some burly dude telling you about torque and whatnot. Personally, I like trucks, I have two trucks currently, but it’s not addressed to me. But there are movies that are straight up addressed to women and there are beautiful voices in the industry that could be an authoritative omniscient female voices, voicing a movie trailer for women. But the crazy thing is, then maybe whoever is putting the movie out will feel that they’re limiting their audience and not letting men in at all, but if a man does it, both men and women will listen and that’s weird. That said, the voiceover industry is injected with both female and male voices, it’s not massively sexist. There are jobs for women but in the movie trailer voiceover industry it’s cuckoo sexist. This is basically a 93-minute audition for me as a voiceover artist to finally get a job because that would be really cool.
The film is obviously contemporary, but there’s something about it that feels timeless, or out of time. Even in the use of technology, we don’t see any iPhones and there are little things like giving Rob’s character that tape instead of, say, instead of sending him a voice note on your phone. But that’s also echoed in the setting as well.

Yes, all of that was very important. I was obsessed on that with the prop department and art direction because  yeah, it’s obviously contemporary, it’s not a period piece, so we already take that upfront. But there are parts in the Valley that I love because you do feel like it could be anytime and the Valley is romantic like that. It sits in this isolated space of 70s to now, it could always be kind of the 70s there. And for instance, iPhones were banned from any character. I love iPhones, personally, but I just felt like for the movie it pinpointed something too current or it almost takes you out. It’s like having a huge celebrity in your movie when it’s not right to have them there. I thought people were just going to look at the iPhone, and it’s too evocative. But yeah, it was too hip and nothing’s too hip in there. Even LA itself was measured, I didn’t want to have iconic LA architecture in the movie at all, I wanted it to feel more like any town. I barely allowed palm trees. There was one beautiful establishing shot and the Capital Records building was sort of iconically just sitting in the background as the sun was goes down and the DP was like, “Let’s get this!” and I thought it was amazing but was like, “Yeah, we jut need to just crop out and reframe to get the Capital Records building out.”