That night, our member Chuck Wilson gave a moving tribute to Gena Rowlands. He also wrote this essay for our awards booklet.

In deepest honor and grateful memory of Gena Rowlands; may she be at peace. With no disrespect to any other actress, she was the most inventive and vital I've ever seen. The last closeup I'll see in my mind, the one that can stand for all others, is this one, from Faces:

Amazing: Eric Hynes writes that Gena Rowlands in A WOMAN UNDER THE INFLUENCE gave "the most fully human screen performance since the advent of sound," and it doesn't seem like hyperbole. His essay on the shock of seeing this essential artwork: reverseshot.org/symposiums/ent…

Announcing the Currents selections of #NYFF62, including 12 feature films and 28 shorts that represent more than 20 countries and trace a more complete picture of contemporary cinema with an emphasis on new and innovative forms and voices. Explore: filmlinc.org/NYFF62Currents

Behind the seen: CLOSE YOUR EYES, Víctor Erice’s first feature in more than three decades, casts a spell like nothing else I’ve seen this year. It opens Aug. 23 in U.S. theatres; here’s my review of this quietly transcendent movie. newyorker.com/magazine/2024/…

The French actor Alain Delon has died, at the age of 88. In April, Anthony Lane considered Delon’s film career, terming him “a star of enduring magnitude” and “the most beautiful man in the history of movies.” newyorkermag.visitlink.me/geoGFU

A word in memory and honor of Gena Rowlands and how she radically expanded the cinema, in ways that many directors, actors,and critics still have trouble accepting: newyorker.com/culture/the-fr…

It was an honor to write a tribute to Alain Delon, a great actor and one of the last true international movie stars, for RogerEbert.com. rogerebert.com/tributes/in-me…

“Trash, Artsiness, and the Movies”

Announcing the Revivals selections of #NYFF62, including recently restored classics, rarities, and discoveries that were groundbreaking in their time and regarded for their artistic innovation, cultural impact, or bold storytelling. Explore: filmlinc.org/NYFF62Revivals

We're thrilled to announce that Albert Serra's AFTERNOONS OF SOLITUDE, in which the Catalan filmmaker trains a poetic lens on the pomp and brutality of bullfighting, will make its North American Premiere as an #NYFF62 Spotlight selection! Learn more: filmlinc.org/nyff2024/films…

We are delighted to announce that Kelli Weston (Kelli Weston) is now a member of the National Society of Film Critics. Congratulations and welcome!

Woo-hoo, congrats, Kelli! Check out some of her terrific, eclectic writing at RS: reverseshot.org/people/200/kel…

Also, it’s now called MAGALOPOLIS.

No Other Land is playing Telluride and the rest of the fall fests - imploring people in the strongest possible terms to make time for it (and for someone to BUY it)

CONCLAVE sounds like a shoo-in for the Papal's Choice Awards.

Loved reading this elegant, clear-eyed dispatch from Joshua Rothkopf on the good, the bad and the middling of Telluride 2024.

So excited to be doing a New Yorker Festival master class with my brilliant colleagues Richard Brody and Leo Carey next month. Get your tickets here: nyer.cm/zCmbo30

Fresh squeeze: on the gleefully macabre marriage stories of Tim Burton’s BEETLEJUICE BEETLEJUICE, a supernatural screwball rom-com where love is never a matter of ’til death do us part. newyorker.com/magazine/2024/…

I started ⁦Carrie Rickey⁩’s book before I left for Venice, but had to leave it behind. Now I’m back and tearing through it. WOW! This is how you do a biography of a complicated, elusive, and (of course) delightful figure. I don’t want it to end.