“Miroirs No. 3” dir. Christian Petzold (2025)
Film at Lincoln Center & IFC Center via 1-2 Special – Opens March 20
Petzold’s latest follows Laura, who, after a car crash kills her boyfriend, is taken in by the woman who witnessed the accident. As grief curdles into suspicion, Laura begins to question her benefactors’ intentions. Petzold crafts a coolly controlled drama about mourning and projection.
“This is a work that is mellifluous, melodious and mysterious in equal measure.” – David Jenkins, Little White Lies
For fans of: moral unease, modern European auteurs, suspenseful silence
German with English subtitles
“All About My Mother” dir. Pedro Almodóvar (1999)
Quad Cinema on 35mm – March 24–25
Overflowing with color, compassion and campy flair, Almodóvar’s Academy-Award-winning melodrama remains one of his most radiant films. After an unimaginable loss, Manuela leaves Madrid and heads to Barcelona to retrace her past. Along the way, she gathers a chosen family, each navigating their own fragile reinventions.
“This is humanism in drag: Almodóvar’s passionate redefinition of family values.” – David Ansen, Newsweek
For fans of: primary colors, complicated women, “Pose”
Spanish With English Subtitles
“André Is an Idiot” dir. Tony Benna (2025)
Film Forum via Joint Venture – Opens March 6
Faced with devastating news about his health, André decides to meet the inevitable on his own terms: with stubborn wit and a refusal to wallow. Benna’s film follows his attempts to script a meaningful exit, balancing logistical realities with moments of absurd levity. The result is a disarmingly funny and humane reflection on mortality, ego and freedom.
“(The film) counsels that, as life runs out, sometimes the right thing to say is what you mean, and sometimes it’s what you absolutely don’t. The truth cuts through either way.” – Guy Lodge, Variety
For fans of: life-affirming stories, “Ikiru,” irreverence, “The Farewell,” Bo Burnham
English
“Alpha” dir. Julia Ducournau (2025)
IFC Center via NEON – Opens March 27
Premiering at Cannes, Ducournau reaffirms herself as one of the most daring voices in contemporary French cinema. When 13-year-old Alpha returns from school with a tattoo on her arm, the fragile balance between her and her single mother begins to fracture. What follows is an unraveling of trust, identity and bodily autonomy, rendered with Ducournau’s signature visceral intensity.
“(Ducournau) has found a new way to talk about memory, trauma, addiction and illness — sometimes baffling but always striking.” – Ed Potton, The Times UK
For fans of: body horror, mother-daughter dynamics, Chloë Sevigny
French and Berber with English subtitles
“Idiotka” dir. Nastasya Popov (2025)
Roxy Cinema via Utopia – March 13–14
Set amid the glossy storefronts and tight-knit circles of West Hollywood’s Russian-speaking community, Popov’s satire follows a young woman chasing fame and financial stability through reality television. With biting humor and sharp observation, the film probes the cost of visibility in a world where content is identity.
“A hilariously heartfelt reminder that immigrants make America (and cinema) great.” – Glenn Garner, Deadline
For fans of: influencer-era absurdity, “The Bling Ring,” messy ambition, Bravo TV personalities
English, Russian with English Subtitles
“Kontinental ’25” dir. Radu Jude (2025)
Film Forum via 1-2 Special – Opens March 27
Winning the Berlinale “Silver Bear for Best Screenplay,” Jude delivers another razor-edged examination of contemporary Europe, pairing moral inquiry with deadpan humor and anchored by a commanding performance from Eszter Tompa.
“At once incisive and ambiguous, it’s proof that Jude is operating on a completely different level than most of his contemporaries.” – Nick Schager, The Daily Beast
For fans of: satire, “Parasite,” neorealist dramas, modern societal ills
Romanian, Hungarian and German with English Subtitles
Series and Festival Highlights:
Agnès Varda: A Comprehensive Retrospective
Film Forum – March 13 – April 2
“Pioneering French filmmaker Agnès Varda’s (1928-2019) stature as one of the greatest of all filmmakers has only grown over the years. Making films over six decades, she helped launch the French New Wave and then surpassed it with the distinctive brand of filmmaking she called cinécriture (cine-writing). Moving freely between the authorship of fiction film and the spontaneity of documentary while also working prolifically as a visual artist and photographer, she created two dozen features and many short works.” (FilmForum.org)
Showing: “La Pointe Courte,” “Varda by Agnès,” “Cléo from 5 To 7,” “Le bonheur,” “Jane B. par Agnès V.,” “Daguerréotypes,” “Documenteur,” “Vagabond,” “The Gleaners and I,” “The Young Girls of Rochefort,” “The Young Girls Turn 25,” “The Beaches Of Agnès,” “One Hundred and One Nights,” “Faces Places” and more
Holy Trips
Metrograph – From March 6
“The physical journey of the pilgrimage, the interior quest of soul-searching and self-discovery — these are the subjects of Holy Trips, a series devoted to devotional missions, some treated with sacerdotal solemnity, others with secular satirical bite. Buñuel and Bresson, Pasolini and the Pythons, miracles and mescaline, a Landscape in the Mist and some Fear and Loathing in Las Vegas — here you’ll find apocalyptic auguries (the infamous “Fin de cinéma” that concludes Godard’s Weekend) alongside glimpses of salvation, cinematic revelations infused with more than a touch of the Book of Revelations, and heaping helpings of both the ridiculous and the sublime.” (metrograph.com)
Showing: “The Darjeeling Limited,” “Dead Man,” “Diary of a Country Priest,” “Fear and Loathing in Las Vegas,” “The Gospel According to St. Matthew,” “The Holy Mountain,” “In a Year of 13 Moons,” “Landscape in the Mist,” “The Milky Way,” “Monty Python and the Holy Grail,” “The Seventh Seal,” “Stalker” and “Weekend”
Metaphysics Of The Pratfall: Jerry Lewis And Jean-Luc Godard
Anthology Film Archives – March 19–31
“To pay tribute to these two contemporaries and their deep entanglements, we present a series that places films by Lewis and Godard in dialogue with each other. Both turned comedy into a form of modernist experimentation: Lewis through his elastic body, elaborate gags, and self-reflexive use of technology; Godard through his deconstruction of genre and his playful, anarchic sense of form. Each viewed cinema as a laboratory for testing the boundaries between art and entertainment, sincerity and absurdity, self and persona. Seen together, their films reveal a shared commitment to invention and a profound suspicion of the very illusions they so brilliantly created.” (AnthologyFilmArchives.org)
Showing: Showing: “The Ladies Man,” “Tout va bien,” “The Errand Boy,” “Contempt,” “Hollywood or Bust,” “Pierrot le Fou,” “The Family Jewels,” “Made in U.S.A.,” “The Nutty Professor,” “Nouvelle Vague,” “Smorgasbord (aka Cracking Up),” “Keep Your Right Up / Soigne ta droite,” “Three on a Couch” and “After the Reconciliation”
March Melodrama
Quad Cinema – March 3–26
“As we head into the Spring, the Quad invites you to come swoon, sigh and cry with us. We proudly present four motion picture melodramas that will unabashedly make you feel every bit of emotion and unrelenting pathos. From the apex of the genre during Hollywood’s golden age (A Place in the Sun and Written on the Wind) to transgressive tributes from master European auteurs (Ali: Fear Eats the Soul and All About my Mother). These films aren’t just proud weepies, they also feature subversive criticisms of conformity and bourgeois hypocrisy and pay tribute to everlasting love and chosen families.” (quadcinema.com)
Showing: “A Place in the Sun,” “Ali: Fear Eats the Soul,” “All About My Mother” and “Written on the Wind”
