What fascinated me most is how hard it is to believe Holmes. Is she knowingly deceiving everyone, or has she repeated her own version of reality so many times that she actually believes it? That idea of self deception is what makes the film so uncomfortable and fascinating. 2/3

#NYFF64

You Can See Everything is absolutely shocking. I thought I knew the Elizabeth Holmes story pretty well, but Nathan Fielder and Lance Oppenheim have made something much more expansive and revealing. The access they get is incredible, and the film keeps going places you don’t expect 1/3

#NYFF64

The movie has an MVP who it would be wrong to identify but we'll get there after it's been open for a bit. (Don't reply with a name; be cool!) For me, against stiff competition, this was the highlight of #NYFF64 so far.

YOU CAN SEE 👀 EVERYTHING: Nathan Fielder and Lance Oppenheim are here for the Holmes-town premiere of their documentary epic. #NYFF64

Now seated for You Can See Everything!

#NYFF64

It’s difficult to imagine another film so thoroughly disinterested in the substance of the materials at its center as I DESERVE A LOVER WHOSE EVERY RISE SETS FIERY DOOMS RAGING ACROSS THE SKIES. #NYFF64

Day 6 of #NYFF64: I was flat-out stunned by Sandra Wollner's Everytime (this year's German Oscar submission). In a way that's slightly reminiscent of Aftersun (same cinematographer), it explores the disorientation and non-linearity of grief after a devastating family loss. It doesn't wring tears...>

Jonathan Glazer's documentary short JOY OF JOYS feels one conspicuous brand logo away from becoming a commercial. Read Eli Friedberg's #NYFF64 review. bit.ly/4xSCBDy

Sofia Coppola discusses her mother Eleanor Coppola's dedication to her art at the #NYFF64 premiere of MAKING MARIE ANTOINETTE.

I'm really loving what I'm seeing at the New York Film Festival this year. I've loved more movies here than I have in a long time. #nyff #nyff64 #film #filmsky

Minus Zero timeee #nyff64

The sincerity with which Werner Herzog regards two twin sisters’ stubborn hopefulness in the face of a selfish and uncaring world gives BUCKING FASTARD a lasting emotional power. #NYFF64 bit.ly/46Uf5et

Andrew Haigh, Ebon Moss-Bachrach, Caitríona Balfe, Kit Connor, Fred Hechinger, and Jonathan Alberts discuss the experience of shooting A LONG WINTER. #NYFF64

Andrew Haigh, Ebon Moss-Bachrach, Caitríona Balfe, Kit Connor, Fred Hechinger, and Jonathan Alberts discuss the experience of shooting A LONG WINTER. #NYFF64

Day 5 of #NYFF64: Sooner or later at any fest, you hit an "I don't get it" movie. I had a rough time with Arthur Harari's The Unknown, a long, moody drama about a mini-epidemic of people who unwillingly switch bodies after sex. It's basically Craig Lucas's excellent 1988 play Prelude to a Kiss... >

When it's done well, I'm a sucker for writers writing about writing #nyff #nyff64 #film #filmsky

Arthur Harari’s THE UNKNOWN stumped more than a few viewers in Cannes, but it seems to have found its footing at #NYFF64 — www.criterion.com/current/post...

Sandra Wollner’s shape-shifting wonder EVERYTIME, writes @marshallshaffer.bsky.social, is most perceptive when conveying the strange nature of grieving in the digital age. The film has its U.S. premiere today at #NYFF64. tinyurl.com/mrx8tmye

#NYFF64 ONCE UPON A TIME IN HARLEM premieres tonight at @filmlinc.bsky.social Here’s my review! www.filmsense.nyc/p/nyff64-onc...

William and David Greaves’s ONCE UPON A TIME IN HARLEM is a living, breathing time capsule that feels like a miracle. The film has its New York premiere today at #NYFF64. tinyurl.com/k7bv5zzh