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    Festival Winners Crowd New York Film Festival Main Slate Lineup

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    Top titles from Cannes and Berlin, like Sean Baker’s “Anora” and Mati Diop’s “Dahomey,” join new work by Pedro Almodóvar, Steve McQueen and RaMell Ross.This fall’s New York Film Festival will feature celebrated prizewinners from Cannes and the Berlinale, organizers announced Tuesday, unveiling a main slate that will join new works from the filmmakers Pedro Almodóvar, Steve McQueen and RaMell Ross.The festival, which runs Sept. 27 to Oct. 14, will screen films from 24 countries and include two world premieres, five North American premieres and 17 American premieres.Ross’s film, “The Nickel Boys,” is an adaptation of Colson Whitehead’s Pulitzer Prize-winning 2019 novel about two Black teenagers in a Jim Crow-era Florida reform school. It’s the opening-night selection. Almodóvar’s “The Room Next Door,” about a rekindled friendship between women played by Julianne Moore and Tilda Swinton, will be the centerpiece. And the festival will close with Steve McQueen’s “Blitz,” starring Saoirse Ronan as a working-class single mother in London who gets separated from her 9-year-old son during World War II.Winners from Cannes and the Berlin Film Festival feature heavily in the festival’s main slate lineup.Cannes imports include the Palme d’Or winner “Anora,” from Sean Baker; the Grand Prix winner “All We Imagine as Light” from Payal Kapadia; best director winner Miguel Gomes’s “Grand Tour”; the two best-director winners from the Un Certain Regard section, Roberto Minervini with “The Damned” and Rungano Nyoni with “On Becoming a Guinea Fowl”; and special prize winner “The Seed of the Sacred Fig” from Mohammad Rasoulof.Berlinale veterans playing in New York include the Golden Bear prizewinner “Dahomey,” a documentary from Mati Diop about the complicated postcolonial legacy of artifacts from the former African kingdom; Philippe Lesage’s Quebecois coming-of-age drama, “Who by Fire”; and the documentary “No Other Land,” about the destruction of West Bank villages by the Israeli military, made over five years by a Palestinian-Israeli collective.Two festival mainstays, the filmmakers Hong Sang-soo and Wang Bing, will each have two films playing this fall.Hong is bringing “By the Stream,” about a former film director, and “A Traveler’s Needs,” which won the Silver Bear Grand Jury Prize at the Berlinale and stars Isabelle Huppert as an inexperienced French teacher in a Seoul suburb. (Hong also showed two films last year.)The second and third parts of Wang’s observational nonfiction “Youth” trilogy, titled “Youth (Hard Times)” and “Youth (Homecoming)” and focused on migrant textile workers in the Chinese district of Zhili, will also screen at the festival. The first part of the trilogy, “Youth (Spring),” was included in last year’s lineup.“The most notable thing about the films in the main slate — and in the other sections that we will announce in the coming weeks — is the degree to which they emphasize cinema’s relationship to reality,” the festival’s artistic director Dennis Lim said in a news release. “They are reminders that, in the hands of its most vital practitioners, film has the capacity to reckon with, intervene in and reimagine the world.” More

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      ‘Youth (Spring)’ Review: Garment Rending

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      The documentarian Wang Bing examines the cloistered world of young textile workers in China.Despite running three and a half hours, the documentary “Youth (Spring)” withholds a great deal. That isn’t necessarily a criticism. The film is the latest documentary from Wang Bing, a persistent and widely admired chronicler of China’s downtrodden — its migrants, its outsiders, its mental patients and its survivors of forced-labor camps.“Youth (Spring)” is partly a follow-up to his “Bitter Money,” which opened in New York in 2018 and concerned the textile boom in Huzhou, China; the city had become a destination for migrants eager for work. While “Bitter Money” devoted some time to the journey itself, “Youth (Spring)” takes more of an inside-out approach, looking specifically at young textile workers — most of the identified subjects are in their late teens or early 20s — from a radically cloistered perspective.The overwhelming majority of the movie is set in Zhili, a district of Huzhou that holds more than 18,000 workshops that make children’s clothes, according to the closing credits, where Wang typically places his documentaries’ only contextual information. “Youth (Spring)” zeros in on what must be a small fraction of those workshops. Several are on a thoroughfare incongruously named Happiness Road.The trash on the streets (“Heard of public hygiene?” one man shouts) makes the exteriors look even grimmer than the interiors. Visually, the shops are practically interchangeable. Over the long running time, the drilling noise of the sewing machines begins to prompt a Pavlovian flinch. The windows, which generally seem to have bars, barely let in any light, and at times the shops’ dull tube-bulb illumination makes it hard to concentrate on the image without vigorous blinking.But Wang’s implicit thesis, emphasized through duration and repetition, is that these shops have become the complete universe for the men and women who work there, and who live there in cramped, dormitory-style housing. (From what we hear, the managers use their provision of board and food as an excuse for paying low rates.)These settings are where they will find their first girlfriend or boyfriend or prepare for parenthood. Wang appears to prioritize the quantity of subjects rather than characterization, but one of the most vivid sections occurs early, as a young couple, Hu Zuguo and Li Shengnan, make a decision on how to handle a pregnancy. The conversation involves not only them and both sets of their parents but also the shop’s boss, hardly a model of tact. (“Cheer up!” he says. “An abortion is like you got bitten by a dog, and you bite back.”)Near the midpoint, workers at another shop stage what their manager sneers at as a “mass protest,” descending on him as a group to demand better pay, only to get brushed off because he’s supposedly busy with a rush job. Again and again, we see workers and managers arguing over the rates that each item should fetch. “Rate bargaining is hard,” says one of the few subjects to acknowledge Wang’s camera, which mostly observes invisibly. “It can take days.”There is more to come. Wang shot in Zhili from 2014 to 2019, and “Youth (Spring)” is said to be the first in a three-part series. Even for fans of Wang and mammoth docs, “Youth (Spring)” can be an arduous film to sit through. But while the running time may be indulgent, the experience of feeling trapped in this world is difficult to shake. Like Wang’s “’Til Madness Do Us Part,” set in a mental hospital, the movie is an exhortation not to forget the unseen.Youth (Spring)Not rated. In Mandarin, with subtitles. Running time: 3 hours 32 minutes. In theaters. More