NYFF64 Currents lineup: ‘Bardi,’ Carlos Reygadas, Laura Poitras lead bold 2026 slate at Film at Lincoln Center

Film at Lincoln Center has unveiled the Currents lineup for the 64th New York Film Festival (NYFF64), and NYFF64 is going big on cinema that refuses to play by conventional rules.

Running September 25–October 12, the 2026 Currents section of the festival brings together 15 feature films and 28 shorts from 24 countries and regions, spanning world premieres, restorations, 3D, 16 mm, 35 mm, and 70 mm presentations.

At the center is the world premiere of Tala Hadid’s “Bardi,” an immersive portrait of horse riders in central Morocco participating in Tbourida, a centuries-old equestrian military ritual. The lineup also brings new work from Carlos Reygadas, Bruno Dumont, Tiffany Sia, John Torres, Éric Baudelaire, Dan Sallitt, Beatrice Gibson, and Mariano Llinás, along with a new restoration of Fred Camper’s rarely screened “Suicide Note.”

NYFF64 Currents features — What to know

“Bardi” — Tala Hadid | World Premiere, Currents Centerpiece. Hadid enters the rugged world of Moroccan Tbourida riders, capturing ritual, masculinity, myth, and transformation with an intimacy that expands into something epic.

“At Night” — Beatrice Gibson | U.S. Premiere. Six women move through one night in Paris in Gibson’s 16 mm feminist meditation about bodies, language, and contemporary life.

“A Day in the Life of Jo: Chapter Phaedra” — Jacqueline Lentzou | North American Premiere. One pivotal day for a 15-year-old in suburban Athens shifts from teenage conflict and first love toward something far more cosmic.

“For the Moon” — Éric Baudelaire | World Premiere. Baudelaire collaborates with students at Paris’s National Institute for Blind Youth, giving them cameras to build their own tactile, subjective cinematic world.

“Foreign Travel” — Ted Fendt | North American Premiere. Four Berlin friends, a book club, and the writing of Anna Maria Ortese become a quiet 16 mm study of friendship, dislocation, and the search for meaning.

“Hanabi “— Ana Vaz | North American Premiere. A decade of images from Japan collides with the continuing shadows of earthquake, tsunami, and Fukushima in a kaleidoscopic meditation about ecological disaster and survival.

“Heil Jupiter!” — Carlos Reygadas | World Premiere. Reygadas drops two young couples into a dreamlike coastal landscape where surveillance, authoritarian violence, technology, mythology, and the primitive collide.

“Life of Jorge Luis Borges” — Mariano Llinás | U.S. Premiere. At a sprawling 330 minutes, Llinás goes deep into Borges through archives, private collections, poems, drafts, readings, and irreverent narration.

“London” — Sebastian Brameshuber | New York Premiere. An older driver carrying strangers between Vienna and Salzburg becomes the center of a humane portrait of connection, migration, mortality, and the gig economy.

“Overt Listening” — Tiffany Sia | World Premiere. Shot in Taiwan’s Kinmen archipelago, just off China’s coast, Sia uses landscapes, military remnants, propaganda broadcasts, and sound to confront the Cold War’s unfinished business.

“Red Rocks “— Bruno Dumont | North American Premiere. Children on the French Riviera turn rocky cliffs, rival groups, and puppy love into Dumont’s observational miniature of danger, freedom, and childhood.

“The Remotes” — John Torres | U.S. Premiere. Sci-fi, documentary, and neo-noir meet in Manila as a grieving cop and his telepathic sister-in-law encounter surveillance, political power, and a mysterious death.

“Suicide Note” — Fred Camper | World Premiere of New Restoration. Shot largely in 1970s New York, Camper’s rarely seen diaristic film returns in a restoration whose structure can change from screening to screening.

“Tomorrow a Long Time Ago” — Luise Donschen | North American Premiere. After losing her factory job in post-reunification Germany, a middle-aged woman drifts away from her former life and toward the supernatural.

“What Can’t Be Mentioned” — Dan Sallitt | World Premiere. Tallie Medel returns as Jackie, now a Brooklyn social worker in training and navigating sex, family, and feelings she may never have fully left behind. The film is preceded by Nathan Silver’s “Sounds From Home,” a North American premiere connecting his parents’ Upstate New York birdwatching voice memos with his new life in Paris.

The NYFF64 Currents shorts

The six Currents shorts programs move just as aggressively among form, politics, memory, and analog filmmaking, pairing emerging filmmakers with experimental cinema veterans.

Program 1: The Hidden Dimension brings Yixuan Zhang’s 3D “Branching Streams Flow in the Darkness,” transforming historical photographs into uncanny spatial illusions; Josh Weissbach and Ben Balcom’s ghostly “A Correspondence”; Natalia Marín’s housing-crisis study “Chronicle of Tiredness”; Jamie Crewe’s sinister digital nightmare “Rebecca’s Mess”; and a restoration of Tatsu Aoki’s “Harmony,” built from layers of 16 mm footage of Chicago pedestrians.

Program 2: The Visible Invisible includes James Richards’s ominous sensory collage “Fevers”; Artavazd Pelechian’s restored train-journey meditation The End”; Johann Lurf’s cosmic “Forever … Forever”, shot with a specially developed 65 mm camera and shown on 70 mm at Walter Reade; and Morgan Fisher’s “Screening Room,” a site-specific work that can only be screened in the theater where it was filmed.

Program 3: “Surface Noise” pushes directly into film material itself: Simon Liu transforms Hong Kong into a dissolving visual labyrinth in “Procedures”; Jonathan Seungjoon Lee layers a year of sunrises onto 16 mm in “Practice Towards Light”; Laura Kraning merges textile processes and film in “Interwoven Intervals”; Siegfried A. Fruhauf attacks perception in “Flim Flam”; Karissa Hahn constructs an impossible monochrome landscape in “Moored Shadow”; and Cameron Worden’s “Day One” creates an entire miniature cosmos through a fully photochemical 35 mm process.

Program 4: “The Real World” turns toward contemporary anxiety. Calum Walter’s “Certainties” watches California wildfire conditions invade domestic life; Martine Syms’s “RW-LO” revisits one teenager’s obsession with “The Real World: New Orleans”; Jesse McLean’s “Placeholder” follows divorce, isolation, and fantasy; and Jiaqi Yu’s “Moon Palace” turns damaged home movies and family photographs into a study of memory and longing.

Program 5: “The Material Ghost” confronts displacement, labor, and contested history. Peggy Ahwesh’s “The Wayfinders” moves through virtual landscapes of Lebanon, Syria, and occupied Palestine; Kevin Jerome Everson’s “National Seating” connects one man’s working life to larger histories of labor; Adam Piron’s “The Flesh of the Mountain” examines Indigenous land dispossession in California; and Bani Khoshnoudi’s graphic “Elegy for the Forgotten, On an Endless War” places images from the Iran-Iraq War next to contemporary violence and bombardment.

Program 6: “Out of the Present” may be the lineup’s most politically immediate. Laura Poitras and Rachel Lauren Mueller’s “They’re Here” follows Minneapolis residents documenting, evading, and resisting ICE agents; Ben Russell’s “Another Earth” grapples with the collision between everyday life and livestreamed atrocity; Vika Kirchenbauer’s “This Suffocating Now” examines violence and contradiction in contemporary Germany; and Mara Chavez and doris duhennois’s “Morne Fortune” challenges colonial history in St. Lucia by reclaiming a monument through stories of the island’s people.

Where to See NYFF64

NYFF64 screenings will take place at Lincoln Center and around New York City at BAM in Brooklyn, Museum of the Moving Image in Queens, Alamo Drafthouse Cinema on Staten Island, and AMC Bay Plaza Cinema in the Bronx.

Current selections are included in Passes, with limited quantities on sale now with discounts through today only. 

NYFF64 single tickets will go on sale to the general public on Tuesday, September 15 at noon ET, with pre-sale access for FLC Members and Pass holders before this date. 

Become an FLC Member by August 28 to secure NYFF64 pre-sale access and discounted tickets year-round.