‘New Order’ Film Review: A Political Horror Moment Gets Its Political Horror Movie

Todd McCarthy Red, White and Blue, the third and final installment of Steve McQueen’s Small Axe quintet of films about racial issues specific to Great Britain being world premiered at the New York Film Festival, zeroes in on the ordeal of a young black Londoner set on helping to definitively break the color barrier at London’s Metropolitan Police Force in the early 1980s.

pic.twitter.com/NqHlU24Ho3— James Bond (@007) October 2, 2020The film, which is the 25th in the franchise, is now slated to be released on 21 April 2021.Most fans appear to have taken the news well. One person remarked, ‘No.

Patrick Hipes Executive Managing EditorNewFest is hosting a reading of Ang Lee’s groundbreaking Brokeback Mountain at its New York LGBTQ Film Festival on October 18, employing an all-trans cast for the event that commemorates the film’s 15th anniversary.The cast features Leo Sheng (The L Word) as Ennis, Brian Michael Smith (911: Lone Star) as Jack, Jen Richards (Tales of the City) as Alma, Alexandra Grey (Empire) as Lurleen and Disclosure director Sam Feder as the narrator.The original film

Steve McQueen's ravishing Lovers Rock summons a potent sense of a community gathering that caresses and cocoons those present, shutting out the hostilities of the city outside. The second movie to premiere at the New York Film Festival from the director's Small Axe anthology for Amazon and BBC, Mangrove, which is set a decade earlier, in 1968-70, shows how another regular gathering place for the same immigrant community provides a cherished home away from home.

Machetes, myths and murky storytelling all find their way into Tragic Jungle (Selva Trágica), the lushly made, if highly enigmatic, fifth feature from Mexican writer-director Yulene Olaizola (Fogo), which screened in the main slate of the New York Film Festival after premiering in the Horizons section in Venice.

Todd McCarthy If Lovers Rock provided a sensuous, feel-good vibe to the opening night of this year’s unusual New York Film Festival, Mangrove supplies a follow-up thwack to the head and punch to the gut.

Janet W. Lee NewFest, New York’s LGBTQ film and media organization, has announced its program for the 32nd New York LGBTQ Film Festival.

Patrick Hipes Executive Managing EditorThe hybrid in-person/virtual New York LGBTQ Film Festival will kick off October 16 with the Kate Winslet-Saoirse Ronan movie Ammonite as its opening-night film.

Also Read: Sofia Coppola, Pedro Almodovar and Orson Welles Doc Added to New York Film Festival LineupWhile there’s always a sense that Walsh is enough of an innate politician to always be aware of Wiseman’s camera without ever acknowledging it – even in more intimate settings, he always talks like someone making sure he can’t be misquoted – he brings a real personal touch to the job, whether he’s relating to those veterans and their need for counseling and outreach by sharing stories of his own

Todd McCarthy Watching Lovers Rock is akin to going to see Romeo and Juliet and only staying through the first act, to departing a basketball game after the first quarter, to sipping the soup and skipping the rest of the meal. A mere wisp of a thing, Steve McQueen’s 68-minute feature, the only fictional section of a five-film anthology called Small Axe about London’s West Indian community between the late 1960s and 1980, steeps you in the atmosphere and music of the latter date.

Also Read: Robert Rodriguez, Diego Boneta to Adapt Mexican Comic 'El Gato Negro' for Apple TV+“I was blown away by how impactful the script is not only in Mexico… being such a Mexican theme and having such an international angle to it was what I was very, very drawn to,” he said.“New Order” (original title: “Nuevo Orden”) is an extremely timely film that opens with a wedding when an uprising takes place in Mexico, showcasing the crime and corruption in the country.

Veteran Hong Kong filmmaker Ann Hui, one of Venice’s two Career Golden Lion recipients this year alongside Tilda Swinton, brings prewar Hong Kong to exquisite if restrained life in her latest historical drama, Love After Love (Di Yu Lu Xiang).

The 2003 documentary The Corporation was that rare political doc with the power to claw scales off eyes. Rather than simply asserting that big companies were destroying the world, it looked at the legal frameworks that created them and saw that, wittingly or not, the system all but guaranteed they would behave badly.

Anyone who has spent time in a major international metropolis with a luxury shopping precinct catering to the highest income bracket will be shaken by the startling image of a massive Louis Vuitton flagship store — in this case on Mexico City's chic Avenida Presidente Masaryk — splashed with the symbolic green paint of a protest movement, the ground nearby littered with corpses not yet cold.

Serious discussions on the perpetuated correlation between race and class in Mexico have dominated the country’s collective consciousness over the last few years. Cinema has actively participated in such reckoning, but never before as boldly as in Michel Franco’s “New Order (Nuevo Orden).” Bound to be contentious at home for its brutal depiction of a not-so-implausible and not-so-distant dystopia, the auteur’s latest shocks with blistering purpose.

Peter Debruge Chief Film CriticMexican director Michel Franco’s latest, dystopian shock drama “New Order,” proves to be the most punishing entry in a difficult oeuvre, which may sound harsh, but isn’t meant as an insult.A cold and sometimes overly intellectual filmmaker, Franco knows how to make an audience squirm. That’s part of the bargain when we buy a ticket to one of his movies.

Jem Aswad Senior Music EditorBruce Springsteen has dropped a new song and video called “Letter to You,” the first track from his new album of the same name, which is arriving on Oct. 23.

Earlier this year, Eliza Hittman’s abortion drama Never Rarely Sometimes Always followed the journey of two teenage girls — one seeking to end her pregnancy and the other providing companionship and emotional support — with remarkable sociological groundedness.

At a time when America looks like it's tearing apart at the seams, there’s something altogether reassuring — even downright inspiring — about Frederick Wiseman’s new documentary, City Hall, which chronicles municipal life in his old hometown of Boston.