Screen Slate is dedicated to providing comprehensive coverage of New York moving image culture, doing so in a way that prizes inclusion, accessibility, and community. The New York Film Festival has confronted me with a contradiction in that mission. Though the festival is one of the central cultural events in the city, and ultimately a notable, if somewhat predictable, representation of the current arthouse landscape, I personally have found it to be restrictive for its high ticket prices (often $25 a head) and exclusivity (films often sell out to members before going on sale to the general public). Our coverage is not meant to further this sense of exclusion, but we do wish to remain part of the conversation, to champion filmmakers we admire, to share some opinions on contemporary cinema when we so often cover repertory, and to give you a preview of some things that you’ll be able to see at regular-priced admission soon.
Unlike our repertory coverage, in which we generally highlight films we admire, our coverage of the NYFF will also draw attention to films that we find particularly regressive, exploitative, or simply unambitious. —Jon Dieringer and the Screen Slate editorial staff.
I love it when American film culture throws down. It happens so rarely. It's one of the few things I admire about the French.