Opening September 4th at Film at Lincoln Center, “Chronovisor,” a New Directors/New Films 2026 selection, follows Columbia scholar Béatrice Courte into the analog archives of New York City’s historic libraries on an all-consuming academic investigation into the story of a disputed Vatican time-viewing device. Kevin Walker and Jack Auen’s utterly unique debut feature performs a remarkable sleight of hand by transforming the private, internal momentum of close study into a genuinely kinetic pursuit, with each passage and cross-reference drawing Béatrice, and us, further into an obsessive, if largely deskbound, investigation.
Presented in the lead-up to the film’s theatrical release, “Bibliomania” gathers films that find suspense, jokes, terror, revelation, strange pleasures, and formal invention in acts that might, at first glance, seem almost impossible to dramatize. These are films of secret books and scholarly obsessions, where archives set the stage for research montages and become thresholds to forbidden texts, images, and occult objects, and where words get scrutinized so closely they begin to look back at those of us reading them in a movie theater. Spanning everything from Hollywood blockbusters and screwball comedies to ghost stories, procedural thrillers, the essay film, structural experiments, and text cinema, the series traces the many ways artists have transformed the taciturn labor of reading and research into cinema. Taken together, the program places “Chronovisor” in conversation with a remarkable range of cinematic traditions, suggesting that audiences drawn to virtually any corner of the series may find a point of entry into its singular blend of archival thriller, intellectual detective story, and cinematic treasure hunt. This summer, come study with us at Film at Lincoln Center, and remember: our tickets make handy bookmarks, too.
Program highlights include David Gatten in person on September 2nd for an introduction and post-screening conversation accompanying a program of his work, which includes a one-of-a-kind 16mm print; the first New York City 70mm presentation of “Indiana Jones and the Last Crusade” since 1989; the North American premiere of the 4K restoration of Jean-Jacques Annaud’s “The Name of the Rose;” and the first U.S. theatrical screening of Ted Fendt’s “Classical Period ” since its 2018 release, preceded by Alain Resnais’s “All the World’s Memory.” The series’ attention to the physical life of books and records extends into the projection booth, with nine works screening from 16mm, 35mm, or 70mm prints, including a rare archival 16mm presentation of “Reversal of Fortune” and an archival 35mm print of “Copycat,” alongside digital restorations.
On Saturday, August 29th, from 2:30 pm to 8:45 pm, “Bibliomania” will spill into the Furman Gallery with a free public book fair, open to everyone with no screening ticket required. Located directly across the lobby from the Walter Reade Theater, the fair will bring together independent publishers, booksellers, film publications, and artist-made zines for an afternoon and evening of browsing and direct sales. Participants include Film Comment magazine, New York Review Books, The Word Is Change, Inventory Press, Archipelago Books, Seven Stories Press, Deep Vellum / Dalkey Archive Press, and Cashiers du Cinéma. Additionally, a unique partnership with the New York Public Library for the Performing Arts will allow attendees to sign up for a library card on the spot. Organized by Jack Auen, Kevin Walker, and Tyler Wilson.
Tickets will go on sale on Wednesday, August 5th at 12 pm, with an early access period for FLC Members starting on Tuesday, August 4th at 2 pm. Tickets for the series are $18; $15 for students, seniors (62+), and persons with disabilities; and $13 for FLC Members. “Indiana Jones and the Last Crusade” on 70mm tickets are $25; $22 for students, seniors (62+), and persons with disabilities; and $20 for FLC Members. Tickets for “Chronovisor” are $19; $16 for students, seniors (62+), and persons with disabilities; and $14 for FLC Members. See more and save $2 on each ticket with a 3+ Film Package (excluding “Indiana Jones and the Last Crusade” and “Chronovisor”).
Acknowledgments:
Grasshopper Film; Academy Film Archive; David Gatten; UNCSA Moving Image Archives; Archipelago Books; Cashiers Du Cinéma; Deep Vellum/Dalkey Archive Press; Film Comment; Inventory Press; New York Review Books; New York Public Library for the Performing Arts; Seven Stories Press; The Word Is Change.
FILMS & DESCRIPTIONS
All films will screen at the Walter Reade Theater (165 W. 65th St.) unless noted at the Francesca Beale Theater (144 W. 65th St.)
Opens September 4th with Kevin Walker and Jack Auen in person.
Chronovisor
Kevin Walker, Jack Auen, U.S., 2026, 100m
French, English, German, and Italian with English subtitles
Benedictine monk Father Pellegrino Ernetti claimed to have invented, alongside Enrico Fermi and Wernher von Braun, a device called the Chronovisor, capable of transmitting events of the past as if live on TV. He professed to have witnessed orations by Cicero and the Crucifixion, though the evidence he provided, reported in the Italian press, was widely disputed. Taking this as their jumping-off point, filmmakers Kevin Walker and Jack Auen engage in a form of time travel as well, following Columbia scholar Béatrice Courte (real-life professor Anne-Laure Sellier), who comes across the Chronovisor while researching an unrelated topic and then, like countless hyperlink- or microfiche-surfing grad students before her, gets lost on an academic side quest. Traveling deeper and deeper into a stubbornly analog archive, she unearths an elaborate web of conjecture and conspiracy reaching all the way up to the highest echelons of the Vatican. Dense with on-screen text from real primary sources, scored to music by Gustav Holst, and shot on 16mm in the pooling shadows of many of New York City’s historic libraries, “Chronovisor” is a witty literary mystery about one of the many secrets that still hide out in libraries, waiting for someone with time, curiosity, and a JSTOR login to come along and disturb the dusty stacks—a standout of this year’s New Directors/New Films and one of the year’s most singular and formally assured feature debuts. A Grasshopper Film release.
Friday, September 4 at 6:15pm – Q&A with Kevin Walker and Jack Auen
Saturday, September 5 at 6:15pm – Q&A with Kevin Walker and Jack Auen
Ball of Fire
Howard Hawks, 1941, U.S., 35mm, 111m
Once upon a time, in the “great, tall forest” called New York, Professor Bertram Potts (Gary Cooper) discovers that his 23-page slang entry, compiled from 800 examples in a dozen books, is already obsolete. Out he goes into the city streets, where his research leads him to Barbara Stanwyck’s motormouth “Sugarpuss” O’Shea, a nightclub singer dodging a subpoena. A library comedy that moves with the energy of a caper, Howard Hawks’s loose adaptation of “Snow White,” scripted by Charles Brackett and Billy Wilder with enough wordplay to fill the New York Public Library, turns academic fieldwork into a charming, swing-era flirtation with language itself. It features deep-focus lensing by Gregg Toland (fresh off “Citizen Kane”) and costumes by Edith Head, but the real scene-stealing comes when Gene Krupa turns a matchbox and two matches into a small big band.
“With a sharp sense of humor and an appropriately Hawksian performance from Barbara Stanwyck, Ball of Fire perfects the depiction of an academic classic: the absent-minded professor who is totally out of touch with reality. While realistic about the deficiencies of the life of the mind, more than any other film in this series, Ball of Fire shows us the sheer joy of dedicating one’s life to one’s passions and sharing those passions with others.” —Kevin Walker and Jack Auen.
Sunday, August 30th at 3:00 pm
Monday, August 31st at 1:00 pm
Curse of the Demon
Jacques Tourneur, 1957, U.S., 35mm, 82m
Jacques Tourneur traveled overseas to direct this adaptation of “Casting the Runes,” a short story by English medievalist and legendary ghost-story writer M.R. James. Dana Andrews stars as an American psychologist brought to London for a parapsychology conference, only to be pulled into an investigation surrounding a satanic cultist and the diabolical force he may have conjured. A missing book in the British Museum Reading Room, a dead scholar’s papers, and a cursed strip of runic parchment gradually turn his skeptical inquiry into a race for survival. This slow-burning chiller, peppered with irony and sly humor, remains a heady, uncommon entry in the filmmaker’s body of work, with the famously disputed appearance of the demon prodding its question of how much a skeptic has to see before he believes.
“A wonderful entry into our beloved, obscure canon of British-rationalist-versus-the-supernatural cinema, Curse of the Demon is the only feature-length adaptation of the work of M.R. James, the unimpeachable doyen of the short ghost story. No one combined the literate and the ghoulish with as much command of tone as James. Without him, it is possible that the ‘haunted library,’ a crucial element of Chronovisor’s image-grammar, may have never entered the cultural consciousness.” —Kevin Walker and Jack Auen.
Friday, August 28 at 4:00pm
Thursday, September 3 at 6:00pm – Introduction by Kevin Walker and Jack Auen
The Changeling
Peter Medak, 1980, Canada, 107m
After a sudden tragedy upends his life, composer John Russell (George C. Scott) takes a teaching post in Seattle and rents a long-vacant mansion for its enormous music room… but he soon learns his new home isn’t exactly empty. Too self-possessed to just leave, Russell turns to the local historical society and follows clues from a séance’s automatic writing through old city records all the way to a turn-of-the-century murder, whose paper trail reaches disturbingly high into public life. Peter Medak’s uncommonly grave ghost story builds its haunted house—an impossible space assembled from linked studio sets and a purpose-built facade—not as a bordello of shocks but a dwelling of inexorable apprehension. Few in the genre have made sorrow and terror feel so achingly inseparable or have sustained that spell with such elegance; there’s good reason Guillermo del Toro has hailed it as a masterpiece and Martin Scorsese has called it one of the scariest films ever made.
“One of the best ‘stealing information from the library’ scenes in cinema, and also one of the single most terrifying uses of tape-recording ever put on film—both vital references for Chronovisor’s archival sequences.” —Kevin Walker and Jack Auen
Saturday, August 29 at 6:30pm – Introduction by Kevin Walker
Tuesday, September 1 at 3:45pm
The Name of the Rose – 4K Restoration
Jean-Jacques Annaud, 1986, Italy/West Germany/France, 130m
North American Premiere of 4K Restoration
In 1327, Franciscan friar William of Baskerville (Sean Connery, in the role that helped revive his post-Bond career) and his novice Adso (Christian Slater) arrive at a Benedictine abbey to debate whether Christ owned property, only to find a young illuminator dead. Other increasingly bizarre deaths bring William’s empirical eyes to a chain of material evidence running from ground to page to flesh, while the monks (not an iPhone face among them; this is one of the decade’s most aggressively anti-cosmetic studio productions) read the events as satanic signs of the Apocalypse. Jean-Jacques Annaud wrestles Umberto Eco’s supposedly unfilmable novel into a grim medieval procedural-cum-conspiracy thriller, stripping away much of the book’s semiotic mischief to leave behind a muddy, claustrophobic nightmare about the wardening of knowledge itself.
“Umberto Eco’s debut novel (called by some ‘the best-selling book that no one ever read’) is dense, thorny, and unabashedly intellectual, but intensely rewarding for those who give it a proper go. We bonded over this book many years ago, and the novel, alongside this wonderful and darkly cozy film adaptation, planted in our minds the idea that textual density and obsessive detail can, in their seemingly tedious myopia, produce the most delectable thrills of all.” —Kevin Walker and Jack Auen.
Friday, August 28 at 6:00pm – Introduction by Kevin Walker
Monday, August 31 at 3:15pm
Classical Period
Ted Fendt, 2018, U.S., 62m
A group of young intellectuals partakes in playful rounds of academic sparring in Ted Fendt’s second feature, an über-cinephilic treatise on language, literature, and theology. Between Dante discussion groups and solitary linguistic exercises, Cal (Calvin Engime, a deadpan virtuoso of uninterrupted erudition) engages his friends in a series of discursive debates that, while reaching far and wide across history, eventually correlate to more interpersonal concerns. Shot on rough-hewn 16mm by Sage Einarsen with a formal rigor to match its characters’ studied personas, Fendt’s encyclopedic take on cinema—screening theatrically for the first time since 2018—stimulates the mind as much as it does the senses. An NYFF56 selection.
Preceded by: All the World’s Memory / Toute la mémoire du monde
Alain Resnais, 1956, France, 21m
French with English subtitles
Alain Resnais’s faintly ominous essay film follows a newly deposited book titled “Mars” (fabricated by Chris Marker) through the Bibliothèque nationale de France as it passes from its legal deposit into the guarded stacks, through corridors, to the card catalogs and, finally, a reader’s table.
“Seeing Classical Period was a revelation for us—Fendt’s second feature is a genuinely courageous act of faith in his audience’s capacity to see through the text and into the subtext. There certainly is no Chronovisor without Classical Period. It is fittingly paired with Resnais’s short film, whose hyperactive camerawork showcases the inner workings of libraries with an almost supernatural eye, contrasting Fendt’s static, unadorned photography, which turns its eye to the people whose lives and relationships are totally defined by those same academic institutions.” —Kevin Walker and Jack Auen.
Tuesday, September 1 at 6:00pm – Introduction by Kevin Walker and Jack Auen
Wednesday, September 2 at 4:00pm at Francesca Beale Theater
Indiana Jones and the Last Crusade
Steven Spielberg, 1989, U.S., 70mm, 127m
The “final” Indiana Jones installment in which we learn the origins of that chin scar, whip, fedora, and Indy’s ophidiophobia, how he got the name, and even the secret to immortality itself. It’s 1938 when Harrison Ford’s professor-archaeologist learns that his estranged father, Grail scholar Henry Jones Sr. (Sean Connery), has vanished. But the real MacGuffin is Henry’s diary, a handwritten thicket of maps and marginalia that transforms a Venetian library into a threshold to catacombs, Brunwald Castle, a Berlin book-burning rally, and, eventually, the Canyon of the Crescent Moon. A bygone, lavish studio blockbuster, “The Last Crusade” conceives of intellectual pursuit as a literal pursuit by every vehicle Paramount could ensure, from speedboat and motorcycle to zeppelin, biplane, horse, and a tank. For a film about digging up the past in more ways than one, it’s only fitting that FLC has unearthed its long-dormant 70mm blow-up, unseen in a New York City cinema since 1989.
Saturday, August 29 at 3:45pm – Introduction by Tyler Wilson
Tuesday, September 1 at 8:00pm
Reversal of Fortune
Barbet Schroeder, 1990, U.S., 16mm, 111m
“Innocence has always been my position.” From the hospital bed where she remains in a vegetative state, heiress Sunny von Bülow (Glenn Close, brilliantly acting through different layers of comatose) presides over the question of whether her husband Claus tried to murder her with insulin. After his conviction, Claus, played by Jeremy Irons in an Oscar-winning amalgam of Continental killer and aggrieved Newport kept man, tries his luck again with Harvard law professor and eventual Jeffrey Epstein attorney Alan Dershowitz (Ron Silver), who turns his home into a legal frat house where his students comb trial transcripts, legal precedents, medical reports, and other exculpatory evidence between driveway basketball games. Exquisitely lensed by Luciano Tovoli and drawn from Dershowitz’s hardly neutral account, “Reversal of Fortune” is an insulin-crusted comedy of manners about people who know they’re bad, people who rationalize their way into believing they’re good, and the lawyer who makes himself the sordid affair’s self-righteous conscience. The print is courtesy of the Joe Dante and Jon Davison Collection at the Academy Film Archive.
“There is an aspect to the research in this film—messy hair, rolled-up sleeves, Chinese take-out paper-pails, collegiate sweaters, lived-in living rooms, cluttered kitchens, and a buzzing beehive of student-researchers—that feels quintessentially early-’90s, one of many films of a similar ilk our parents would throw on on a weekend morning with a coffee and the Sunday New York Times. The inexplicable and elusive coziness of research in this film is something we sought desperately to recreate in Chronovisor.” —Kevin Walker and Jack Auen.
Wednesday, September 2 at 1:30pm at Francesca Beale Theater
Wednesday, September 2 at 8:30pm at Francesca Beale Theater – Introduction by Kevin Walker and Jack Auen
Copycat
Jon Amiel, U.S., 1995, 35mm, 123m
After surviving a serial killer’s attack, criminal psychologist Helen Hudson (Sigourney Weaver) retreats into a luxurious San Francisco apartment with a nasty case of agoraphobia and a bank of beige-box computers that lets her study violence without ever stepping outside. But when a new murderer begins restaging notorious crimes from the American serial murder canon—from DeSalvo to Berkowitz, Dahmer, and Bundy—homicide detective M.J. Monahan (Holly Hunter) pulls Helen into the case. Jon Amiel’s polished thriller splits its cat-and-mouse game between Weaver’s screen-bound expert and Hunter’s dryly pragmatic cop on the ground, with whom everyone’s in love, cleverly turning research into a relay between deskwork and fieldwork. Something like “The Silence of the Lambs” plus “Rear Window” by way of “Se7en,” “Copycat” ratchets up suspense less through the baroque unveiling of evil than the steady constricting of space, upending the trope of feminine immobilization and, instead, mapping its procedural around women’s labor and fear.
“Like The Bone Collector, Copycat is a murder mystery solved almost entirely from within a single room—and despite that limitation, loses none of its urgency and intrigue. An all-time great apartment in film. And, no surprise, Sigourney and Holly gift us two iconic performances.” —Kevin Walker and Jack Auen
Sunday, August 30 at 5:30pm – Introduction by Kevin Walker
Thursday, September 3 at 8:00pm
Thesis / Tesis
Alejandro Amenábar, 1996, Spain, 125m
Spanish with English subtitles
“Thesis” isn’t about books or poring over papers per se (let us cheat a little bit), but it’s a movie of research mania all the same. Madrid film student Ángela (Ana Torrent) begins a thesis on audiovisual violence and asks her professor to help her find the most extreme material buried in the university archive. When he turns up dead beside an unlabeled tape of a possibly real snuff film, her scholarship turns into a murder investigation, and she enlists Chema (Fele Martínez), a campus gore obsessive with his own private archive of smut. Only 23 when he made the film, much of it inside Madrid’s Complutense University, Alejandro Amenábar (“Abre los ojos” or “The Others”) turns the fuzzy glow of VHS and the fraught darkness between one dying match and the next into a taut, analog-age thriller/pre-LiveLeak prophecy about the narrowing distance between studying violent spectacle and wanting, despite oneself, to see it. “Thesis” won seven Goya Awards in 1997, including Best Film, Best New Director, and Best Original Screenplay.
“A mystery film concerned more with the psychological price of investigation than the solution itself. Some images are more disturbing when seen through the lens of a camera.” —Kevin Walker and Jack Auen.
Saturday, August 29th at 8:45 pm
Thursday, September 3rd at 3:30 pm
The Bone Collector
Phillip Noyce, 1999, U.S., 35mm, 118m
Years after a crime-scene accident leaves forensic legend Lincoln Rhyme (Denzel Washington) with quadriplegia, quick-thinking patrol officer Amelia Donaghy (Angelina Jolie, just before superstardom) gets recruited as his eyes and hands in the field. From his high-tech townhouse bed, Washington commands the film almost entirely from the neck up, studying New York City through the nitty-gritty bedfast details, maps and the like, but also, of course, bone fragments, while Jolie pounds the pavement and its catacombic infrastructure for clues that gradually point to an old book called… “The Bone Collector.” Unfairly dismissed at the time as another post-“Se7en” knockoff, Phillip Noyce’s big-budget, R-rated studio thriller may chase the high of Fincher’s landmark, but it subverts the formula through an unusual division of labor between inertia and action, all with the kind of practical atmosphere and expensive polish we’re starved for these days.
“Part of the gamble of our film Chronovisor is this: can you keep a mystery interesting with just a single character, who is not physically involved in the mystery and has no real skin in the game? The Bone Collector, a classic of post-Se7enurban serial-killer films, proves via Denzel’s hospital-bed-bound detective that a mystery can be just as gripping when solved from the armchair.” —Kevin Walker and Jack Auen.
Sunday, August 30 at 8:00pm – Introduction by Kevin Walker
Thursday, September 3 at 1:00pm
National Treasure: Book of Secrets
Jon Turteltaub, 2007, U.S., 35mm, 124m
After a fragment of John Wilkes Booth’s diary implicates his ancestor in Lincoln’s assassination, treasure hunter Benjamin Franklin Gates (Nicolas Cage) sets out to clear the family name, leading to the titular Book of Secrets, a clandestine archive passed from president to president, and then to the (logical!) conclusion that he has to kidnap the sitting president (Bruce Greenwood) and waltz through one top-secret area after another. Treasure maps abound in Jon Turteltaub’s Jerry Bruckheimer–produced sequel, which gives Cage carte blanche to interpret research as something between a contact sport and performance art (just consider his backward slide down a London museum banister past guards while cycling through a rolodex of British accents). “Book of Secrets” is, depending on the viewer’s resting-brow position, a guilty or guilt-free amusement-park ride of puzzle-solving, sightseeing, and expensive, feverishly absurd set pieces. For these “Bibliomania” screenings, FLC presents a near-pristine 35mm print pried from the Disney archive.
“There’s a $100 million version of Chronovisor that might look quite similar to Book of Secrets. We watched this one on TV over and over—proof positive for us that bookish mysteries can be undeniably fun without having to shy away from the details.” —Kevin Walker and Jack Auen.
Friday, August 28 at 8:45pm – Introduction by Kevin Walker
Sunday, August 30 at 12:30pm
The Matter Propounded: Three Films by David Gatten
For three decades, David Gatten has transformed the private acts of reading and research into a sensuous, shared cinema. Working across handmade 16mm and digital media, he sets printed matter and obsolete systems in motion, drawing out their visual and material possibilities while attending to how forms of writing now strange to us once helped people make sense of their lives. Gathered around the ongoing “Secret History of the Dividing Line” project, these three films move from a 17th-century dream of total knowledge, through a manual for divining the future, to a forbidden love that survives only in fragments. Across them, reading becomes a mode of looking while formal rigor remains open to the touch of a hand and the small irregularities through which private feeling enters public history.
“Few filmmakers have more thoroughly explored the possibilities of ‘text-based cinema’ and its psychological impact on audiences than David Gatten. The Great Art of Knowing in particular was quite important for us, revealing how text can be both vivified and vivisected photographically.” —Kevin Walker and Jack Auen.
Wednesday, September 2 at 6:00pm at Francesca Beale Theater – Q&A with David Gatten
The Great Art of Knowing
David Gatten, 2004, U.S., 16mm, 37m
Silent
In the 17th century, Jesuit polymath Athanasius Kircher proposed a system that promised to make the world knowable through combinations of 27 key terms. Taking Kircher’s “Ars Magna Sciendi,” once held in the vast library of colonial Virginia planter and surveyor William Byrd II, as both source and structural guide, Gatten draws together the surviving catalog of Byrd’s dispersed collection, Leonardo da Vinci’s mirror-written studies of flight, and traces of the thwarted romance of Byrd’s daughter, Evelyn. A central work in his decades-spanning “Secret History of the Dividing Line” cycle, “The Great Art of Knowing” turns bibliography into cinema, moving from Byrd to bird and setting words, images, and histories into unexpected correspondence until a dream of total knowledge meets a love story preserved only in fragments.
The Matter Propounded: Of Its Possibility or Impossibility, Treated in Four Parts
David Gatten, 2011, U.S., 16mm, 13m
Silent
Drawing from a 20th-century fortune-telling manual, Gatten divides its language into four sections: Instructions, Questions, Answers, and Conclusions. In this “letter-press” film, white words arrive against black and vanish again, releasing the manual’s phrases from their assigned places until divination becomes poetry. By turns forlorn, funny, and cryptic, “The Matter Propounded” picks up where “The Great Art of Knowing” leaves off and distills the desire to know what comes next into questions searching for answers in the dark.
What Places of Heaven, What Planets Directed, How Long the Effects? or, The General Accidents of the World
David Gatten, 2013, U.S., 29m
Silent
Made in dialogue with Frances Richard’s poetry collection Anarch. “What Places of Heaven” reworks 16mm material Gatten had prepared for a much longer film about the Byrd family. Returning to Evelyn Byrd’s private history nearly a decade after “The Great Art of Knowing,” it unfolds at a slower, more tender pace. Black-and-white opens into color as text is pared to isolated phrases and the physical page becomes a shifting field of light. From the surviving traces of Evelyn’s life, Gatten fashions a ghostly love story in which absence is not empty space, but one of the key materials from which the film is made.
FREE EVENT!! – “Bibliomania” Book Fair
With too much “Bibliomania” to contain on the screen alone, the series will spill across the Walter Reade lobby and into FLC’s Furman Gallery on Saturday, August 29th, from 2:30 pm to 8:45 pm. This free public book fair is open to everyone, with no screening ticket required, and will feature selections for readers of all ages and tastes. Throughout the afternoon and evening, visitors can browse and purchase books, magazines, and artist-made zines spanning cinema studies and film criticism, literature in translation, contemporary art, poetry, fiction, comics, and nonfiction, all available directly from the participating presses, publications, and an independent bookseller. Behind the tables will be the publishers, booksellers, writers, and artists whose work brings these titles into the world, turning the fair into a chance to discover not only what they’re reading and publishing, but also to talk with the people shaping independent literary culture, and support that work at its source.
FLC is proud to welcome Film Comment, New York Review Books, The Word Is Change, Inventory Press, Archipelago Books, Seven Stories Press, Deep Vellum/Dalkey Archive Press, and Cashiers du Cinéma. Copies of “Texts of Light: A Mid-Career Retrospective of Fourteen Films” by David Gatten, the illustrated catalog featuring essays by Tom Gunning and Genevieve Yue, will also be available for purchase courtesy of the artist. Through a partnership with the New York Public Library for the Performing Arts, attendees will also be able to sign up for a New York Public Library card on the spot. Stop by between screenings or come specifically for the fair!
Saturday, August 29th at 2:30–8:45 pm
MORE ABOUT FILM AT LINCOLN CENTER:
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