10 Unreleased Films to Watch at the 63rd New York Film Festival

      While it can be thrilling to catch some of the year's most-anticipated movies during their festival premieres, searching for films that might not be readily available for a while can be just as appealing. As the 63rd New York Film Festival begins this Friday, September 26, at Film at Lincoln Center, we’ve highlighted essential films still looking for U.S. distribution at the time of writing. For more updates, follow along and subscribe to our daily newsletter.

      **Bouchra** (Meriem Bennani, Orian Barki)

      Inspired by a real conversation shared between co-director Meriem Bennani and her mother, **Bouchra** (co-directed and co-written by Bennani and Orian Barki alongside Ayla Mrabet) begins with a phone call. Aicha (Yto Barrada) reaches out to her daughter in Morocco when Bouchra (Bennani) brings up a topic they’ve avoided for nearly ten years. Facing a creative block, Bouchra seeks emotional release by writing a script that explores the complex relationship with her parents and looks for insight from their perspective. – Jared M. (full review)

      **Evidence** (Lee Anne Schmitt)

      A standout in this year’s Currents lineup, Lee Anne Schmitt’s compelling essay film **Evidence** examines the problems of contemporary American conservatism through an intimate lens. By delving into family history, the director interweaves captivating narratives about corporate environmental harm, the dominance of right-wing media, and the cunning strategies employed by Republican officials to get elected. This work of investigative journalism possesses both formal and emotional depth unlike many others in its genre, making it essential viewing. – Jordan R.

      **The Fence** (Claire Denis)

      Is the perception of a Claire Denis film shifting? There may have been a certain image associated with her name—elliptical, seductive, avant-garde. However, her recent works suggest a different trajectory that is much more straightforward and less enigmatic. One could argue that her latest project, **The Fence**, feels like a concluding film—not necessarily as a grand summary or proclamation but as a reduction of almost everything. The narrative centers on politics—or, if you ask Denis, character and dialogue—over the intricate mise-en-scène. Adapted from Bernard-Marie Koltès’s play **Black Battles with Dogs**, its theatrical origins serve both beneficial and detrimental purposes, hinting at a desire to quickly create an adaptation of something she admires. – Ethan V. (full review)

      **Gavagai** (Ulrich Köhler)

      An often-overlooked talent in global cinema, Ulrich Köhler (known for **In My Room**) returns with what seems to be a significant work. In a metacinematic take on **Medea**, two actors (Jean-Christophe Folly and Maren Eggert) film Euripides’s play in Senegal, led by a nervous director (Nathalie Richard) while secretly involved in an offscreen romance; a subsequent incident at its Berlin premiere raises challenging questions regarding bias and intention. If Köhler's previous films are any indication, this work will certainly include humorous elements. – Nick N.

      **The Last One for the Road** (Francesco Sossai)

      With no new Aki Kaurismäki film on the horizon, Francesco Sossai’s breakout hit **The Last One for the Road** from Cannes fits the bill perfectly. This charming Italian film follows two tipsy friends as they travel across the country, reminiscing about their youthful escapades and contemplating the future, while drawing energy from a new student joining them. Sossai imbues the film with a relatable, beautiful touch, crafting characters that feel both worn and empathetic, as if they could be found at a local bar, sharing an unforgettable night. – Jordan R.

      **Late Fame** (Kent Jones)

      For a certain generation of film enthusiasts (hello), Kent Jones’ criticism and programming served as a continual guiding star. Since his departure from the New York Film Festival in 2019, he has been largely absent, but having collaborated with Martin Scorsese on documentaries, his filmmaking appears to signal a new phase: while 2018’s unconventional **Diane** may not have been the anticipated narrative debut, **Late Fame**—written by Samy Burch (of **May December**) and featuring Willem Dafoe and Greta Lee—seems more aligned with Jones’ longstanding themes regarding life’s work and the relationship between artists and advocates. Adapting a novella by Arthur Schnitzler (notably the author behind the source material for **Eyes Wide Shut**), it focuses on a lesser-known poet (Dafoe) achieving late recognition for a reevaluated collection and the attempts of an actress (Lee) to capture his attention. The collaboration of director, writer, cast, and DP Wyatt Garfield suggests a mature perspective on artistic endeavors. – Nick N.

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