New York Film Festival Running Tallies

Festivals by Number of Films/Programs/New Features:

  • 4th (1966): 31/25/22
  • 2nd (1964): 30/26/28
  • 8th (1970): 28/26/27
  • 3rd (1965): 28/25/18
  • 6th (1968): 26/25/22
  • 5th (1967): 26/23/22
  • 7th (1969): 23/23/21
  • 1st (1963): 21/21/21
  • 9th (1971): 18/18/18

Total: 231/212/199

Festivals by Primary Location:

  • Philharmonic Hall: 8
  • Alice Tully Hall: 1
  • Vivian Beaumont Theater: 1

Selection Committee Members:

  • Richard Roud (program director): 9
  • Amos Vogel (festival director): 6
  • Arthur Knight: 6
  • Andrew Sarris: 6
  • Susan Sontag: 5
  • Henri Langlois (retrospective consultant): 3
  • Richard Corliss: 1
  • Penelope Huston: 1
  • Arthur L. Mayer: 1

Directors:
Key: films in the festival up to this point excluding shorts/omnibus/retrospectives, films up to this point including, number of gala spots (when applicable), number of festivals with more than one film shown (when applicable); † indicates filmmakers with no more films

  • Jean-Luc Godard: 12/16/2/5
  • Luis Buñuel: 5/5/1/2
  • Robert Bresson: 5/5
  • Bernardo Bertolucci: 4/5/0/1
  • Alain Resnais: 4/4/2
  • Jerzy Skolimowski: 4/4/0/2
  • Ermanno Olmi: 4/4
  • Pier Paolo Pasolini: 3/5/0/1
  • Milos Forman: 3/3/2
  • Chris Marker: 3/3/1
  • Satyajit Ray: 3/3/1
  • Agnès Varda: 3/3/1
  • René Allio: 3/3†
  • Werner Herzog: 3/3
  • Jean-Marie Straub & Danièle Huillet: 3/3
  • Bo Widerberg: 3/3
  • Kon Ichikawa: 2/3/0/1
  • Peter Whitehead: 2/3/0/1†
  • Abel Gance: 2/3†
  • Peter Bogdanovich: 2/2/0/1†
  • Francesco Rosi: 2/2/0/1
  • Akira Kurosawa: 2/2/1
  • Marco Bellocchio: 2/2
  • Claude Chabrol: 2/2
  • Marguerite Duras: 2/2
  • Kjell Grede: 2/2†
  • Miklós Jancsó: 2/2
  • Alexander Kluge: 2/2
  • Masaki Kobayashi: 2/2†
  • Joseph Losey: 2/2
  • Dusan Makavejev: 2/2†
  • Ivan Passer: 2/2†
  • Carlos Saura: 2/2
  • Leopoldo Torre Nilsson: 2/2†
  • Peter Watkins: 2/2†
  • Jan Nemec: 1/3/0/1†
  • Joris Ivens: 1/2/1
  • Jiri Menzel: 1/2/1†
  • Gianni Amico: 1/2
  • Jaromil Jires: 1/2†
  • Eric Rohmer: 1/2
  • Roberto Rossellini: 1/2
  • Jean Rouch: 1/2†
  • Grigori Kozintsev: 1/1/1
  • Louis Malle: 1/1/1
  • Gleb Panfilov: 1/1/1
  • François Truffaut: 1/1/1
  • Ingmar Bergman: 1/1
  • Walerian Borowczyk: 1/1
  • John Cassavetes: 1/1
  • Carlos Diegues: 1/1
  • Rainer Werner Fassbinder: 1/1
  • Jean-Pierre Gorin: 1/1
  • James Ivory: 1/1
  • Ken Loach: 1/1
  • Sidney Lumet: 1/1
  • Adolfas Mekas: 1/1
  • Jonas Mekas: 1/1
  • Jean-Pierre Melville: 1/1
  • Marcel Ophuls: 1/1
  • Nagisa Oshima: 1/1
  • Sergei Paradjanov: 1/1
  • Aleksandar Petrovi: 1/1
  • Maurice Pialat: 1/1
  • Roman Polanski: 1/1
  • Bob Rafelson: 1/1
  • Jacques Rivette: 1/1
  • Glauber Rocha: 1/1
  • Michael Roemer: 1/1
  • Volker Schlöndorff: 1/1
  • Martin Scorsese: 1/1
  • Ousmane Sembène: 1/1
  • István Szabó: 1/1
  • Luchino Visconti: 1/1
  • Andrzej Wajda: 1/1
  • Orson Welles: 1/1
  • Krzysztof Zanussi: 1/1
  • Kenji Mizoguchi: 1/2†
  • Max Ophuls: 0/2
  • Jean Renoir: 0/2
  • Erich von Stroheim: 0/2
  • Michelangelo Antonioni: 0/1
  • Vera Chytilová: 0/1
  • Cecil B. DeMille: 0/1
  • Louis Feuillade: 0/1
  • Rouben Mamoulian: 0/1
  • Albert & David Maysles: 0/1

Directors with only one appearance: 72

Countries:
Key: films in the festival up to this point excluding shorts/omnibus/retrospectives, films up to this point including, number of gala spots (when applicable)

  • France: 54/65/6
  • USA: 24/35/1
  • Italy: 24/28/1
  • Czechoslovakia: 11/13/3
  • Japan: 11/13/1
  • UK: 11/13/1
  • Sweden: 10/10
  • West Germany: 9/9
  • Poland: 7/7
  • Hungary: 5/5
  • Yugoslavia: 5/5
  • USSR: 4/4/2
  • Canada: 3/4
  • India: 3/3/1
  • Spain: 3/3/1
  • Argentina: 3/3
  • Mexico: 2/2/1
  • Belgium: 2/2
  • Brazil: 2/2
  • Denmark: 2/2
  • Greece: 2/2
  • Senegal: 1/1

Film Format:

  • 35mm: 197
  • 16mm: 34

Aspect Ratio:

  • 1.37:1: 82
  • 1.66:1: 53
  • 1.33:1: 35
  • 1.85:1: 30
  • 2.35:1: 24
  • 1.20:1: 3
  • 1.78:1: 1
  • 1.19:1: 1
  • 2.55:1: 1
  • 1.33:1 and 4.00:1: 1

B&W/Color:

  • Black & White: 141
  • Color: 76
  • Black & White and Color: 9
  • Color and Black & White: 5

Sound/Silent:

  • Sound: 220
  • Silent: 10
  • Silent/Sound: 1

Films directed in part or whole by women: 13
Films released the same year as their festival appearance: 50
Films never released: 66

2018 Festival Dispatch #2 Show Notes

Listen to the podcast here.
Subscribe to the podcast here.

Description
The second 2018 festival dispatch of the Catalyst and Witness podcast, devoted to exploring the films and format of the New York Film Festival, hosted by Ryan Swen and Dan Molloy. This covers the first half of the 2018 New York Film Festival, and features guests Aret Frost, David Neary, and Kyle Pletcher.

0:00-52:36 – Part One
52:37-1:41:27 – Part Two

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Conceived and Edited by Ryan Swen
  • Guests: Aret Frost, David Neary, Kyle Pletcher
  • Recorded in Los Angeles, New York City, and Trenton on Zoom H4N and Sennheiser Microphones and MacBook GarageBand and Audacity, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Recorded October 6, 2018
  • Released October 9, 2018
  • Music (in order of appearance):
    • The Hole
    • The Day He Arrives
    • Trouble Every Day

October 2018 Capsules

A Star Is Born
Yes, “The Man That Got Away” might be the greatest musical number ever committed to film, but one sequence seems to capture the spirit of this extravagant, devastating masterpiece even better: “Born in a Trunk.” (Complicating this of course is the fact that “Born in a Trunk” was filmed after Cukor had finished his involvement with the film, though this only strengthens its connections to the machinations of Hollywood.) The medley of songs from numerous genres indulges in all the abstraction and expressionism possible in the American film industry, lunging through vividly contrasting set after set, with the only connective tissue being Garland’s voice and physicality. It is blatantly, gloriously unclear whether this is some part of Vicki Lester’s star-making role or a mental projection of her thinking on her past life through said role – notably, the Academy ratio of the film-within-the-film expands to CinemaScope in the span of a cut. Comparisons to Gene Kelly’s repeated intonations of “dignity, always dignity” or even “Broadway Melody” from Singin’ in the Rain are there, of course, but the lines between role, performer-in-a-role, and performer are even further blurred. And throughout, it is so clear that Vicki Lester is the real deal, that she must shine and diminish all around her. This is the film in less than 15 minutes; what makes it what is is the two and a half hours left: not one second is anything less than vital.