Zodiac Killer Project (Open Captioning)
Please note that there are additional showtimes of ZODIAC KILLER PROJECT that screen without open captions (on-screen display of dialogue and sounds). For those showtimes, click here.
Filmmaker Charlie Shackleton was hot on the trail of the next great American true crime documentary—a riveting account of a highway patrolman’s quixotic effort to identify and capture the infamous Zodiac Killer. Shackleton devised a plan, began collecting interviews, and shot “evocative B-roll” footage of ghostly California freeways and parking lots where the killer may have once lurked. And then the project fell apart, leaving Shackleton with fragments of the unfinished film and time to ruminate on shortcuts and signifiers of the ubiquitous genre.
ZODIAC KILLER PROJECT emerges from the ash heap to probe and deconstruct the form with the incisive eye of a true crime connoisseur. A witty and beautifully assembled deep dive into our obsession with serial killers and the stories we tell about them, Shackleton’s resuscitation of his abandoned film follows in the free-range footsteps of documentary philosophers Errol Morris, Werner Herzog, and Joshua Oppenheimer.
Midsommar
Dani and Christian are a young American couple with a relationship on the brink of falling apart. But after a family tragedy keeps them together, a grieving Dani invites herself to join Christian and his friends on a trip to a once-in-a-lifetime midsummer festival in a remote Swedish village.
What begins as a carefree summer holiday in a land of eternal sunlight takes a sinister turn when the insular villagers invite their guests to partake in festivities that render the pastoral paradise increasingly unnerving and viscerally disturbing. From the visionary mind of Ari Aster comes a dread-soaked cinematic fairytale where a world of darkness unfolds in broad daylight.
Screening as part of Waverly Midnights: It’s All in Your Head
In the Mouth of Madness
Screening on 35mm
An insurance investigator begins discovering that the impact a horror writer’s books have on his fans is more than inspirational.
Screening as part of Waverly Midnights: It’s All in Your Head
The Last Waltz
It started as a concert. It became a celebration. Join an unparalleled lineup of rock superstars as they celebrate The Band’s historic 1976 Thanksgiving Day farewell performance. Directed by Martin Scorsese, THE LAST WALTZ is not only “the most beautiful rock film ever made” (The New Yorker)…it’s “one of the most important cultural events of the last two decades” (Rolling Stone)! Featuring Bob Dylan, Eric Clapton, Neil Young, Ringo Starr, Joni Mitchell, Van Morrison, Muddy Waters and more.
Screening as part of our midnight series Late Night Favorites: Fall 2025
Repulsion
Screening on 35mm
One of the most frightening films ever made, Roman Polanski’s (Rosemary’s Baby, Chinatown) brilliant tale of psychological horror stars Catherine Deneuve as a sexually repressed beautician whose spiral into madness leads to murder. Carol (Deneuve) is a beautiful, yet extremely withdrawn, young manicurist who shares a London apartment with her more worldly sister (Yvonne Furneaux, La Dolce Vita). When her sister leaves on vacation with her married lover (Ian Hendry), Carol, left alone to reflection her own emotional and sexual frigidity, becomes progressively and dangerously dysfunctional.
As the Pandora’s Box that is her psyche opens up, the apartment becomes a surreal and terrifying prison of her own imagining. Carol begins to hallucinate and becomes physically paralyzed. Her madness reaches a dizzying crescendo, climaxing in unspeakable acts of depravity. Polanski’s first English-language film was both a commercial and critical success, winning the Silver Bear at the Berlin Film Festival and drawing favorable critical comparisons to Hitchcock’s Psycho.
Screening as part of Waverly Midnights: It’s All in Your Head
National Theatre Live: The Fifth Step
Olivier Award-winner Jack Lowden (Slow Horses, Dunkirk) is joined by Emmy and BAFTA-winner Martin Freeman (The Hobbit, The Responder) in the critically acclaimed and subversively funny new play by David Ireland.
After years in the 12-step programme of Alcoholics Anonymous, James becomes a sponsor to newcomer Luka. The pair bond over black coffee, trade stories and build a fragile friendship out of their shared experiences. But as Luka approaches step five – the moment of confession – dangerous truths emerge, threatening the trust on which both of their recoveries depend.
Screening as part of National Theatre Live: Fall 2025
Traffic
Cristian Mungiu (4
Months, 3 Weeks and 2 Days) penned this loose adaptation of the notorious
2012 art robbery, where Romanian migrants stole paintings by Monet, Gauguin,
and Picasso, among others, from a Dutch museum and later burned them to conceal
their tracks.
Much like Kelly Reichardt’s The Mastermind, TRAFFIC
strips the heist of all glamour; the crime is clumsy and anti-spectacular,
serving as a strangely empathetic act of revenge for their misery as invisible,
second-rate citizens. The ultimate irony of this social-realistic dramedy—the
source of the film’s absurd humor—lies in the East-West cultural clash: the
thieves, mistaking the Matisse for a “Matiz” car, realize the masterpieces are
functionally worthless to them, a paradox guaranteeing their poverty persists.
Featuring the magnetic Anamaria Vartolomei (seen this year in Mickey 17),
Romania’s Oscar submission is a tragicomic yet pointed reflection on class,
migration, and injustice.
Screening as part of Making Waves: New Romanian Cinema
Nasty: More Than Just Tennis
Thursday, December 4 at 6:30: The screening will be followed by a Q&A session with sports journalist Steve Flink
Celebrated with a
Special Screening at Cannes 2024, this adrenaline-charged portrait of legendary
tennis player Ilie Nastase is as entertaining as a match with its protagonist.
Using rare archive footage, the film pivots around his explosive 1972 season—Wimbledon
runner-up, US Open champion, and a third Davis Cup final—a watershed moment
that catapulted the Romanian from behind the Iron Curtain into the global
spotlight. Simultaneously affable and generous, he could switch to haughty and
obscene—a contradictory nature that earned him the infamous “Nasty”
nickname. A stellar cast—including luminaries like Billie Jean King, John
McEnroe, Boris Becker, Rafael Nadal, and Jimmy Connors—all acknowledge his
defiant edge and controversial behavior, yet consistently vouch for his
fundamental talent and kindness. This is a definitive smash into the essence of
the sport’s initial rebellious idol, who shattered its staid gentility with
brazen theatricality.
Screening as part of Making Waves: New Romanian Cinema
Looking for an Angel
NYC Premiere of the 4K Restoration!
Tuesday, November 25 at 7:00: Introduction by Elizabeth Purchell and KJ Shepherd
Mostly seen on the gay pink circuit and recently restored by its director to its rightful place in the Japanese arthouse canon, Akihiro Suzuki’s debut takes the death of a young gay porn performer named Takachi as its starting point. Looking for an Angel follows Shinpei and Reiko as they process their friend’s disappearance, their memories coalescing into a bold exploration of grief set against the backdrop of a nostalgic, blue-hued city shot in a variety of filmic formats. As the viewer begins to piece together Takachi’s story, laden with desire for another boy named Sorao, between the cities of Tokyo and Kochi (“where the boys look like angels”), a powerful free-associative beauty emerges from a unique work described by Suzuki himself as “neither straight, gay, queer, bisexual, asexual or pornographic, but [rather] anti-heterosexist” — a film completely free of dogma and convention.
“At the time, I felt a sense of rebellion against the heterosexual-dominated world, and wanted to portray sexuality and identity through an ambiguity that cannot be categorized,” says director Akihiro Suzuki. “I wanted to make a 35mm film like an 8mm film, mix various visual media, and include people of diverse sexualities around me in it.” — Akihiro Suzuki
The New Yorker at 100
For the first time, The New Yorker opens up its offices to Academy Award-winning director Marshall Curry, allowing unprecedented access to its newsroom at a pivotal moment for all media, offering a rare look at what it took to publish a century of intrepid journalism, generation-defining fiction, and unforgettable cartoons.
Official Selection: Telluride Film Festival