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  • Q&A Sunday February 5th after 6:10pm show with Filmmaker Mo McRae

    Q&A Sunday February 5th after 6:10pm show with Filmmaker Mo McRae

    James and Vanessa are the perfect married couple; successful, sexy, and smart. But after learning that the latest fatal police shooting involving an unarmed youth in their community was committed by their neighbor, a white policeman, they are shaken from their upper-middle-class complacency and driven to take action—with explosive results.
  •  African Diaspora International Film Festival

    African Diaspora International Film Festival

    Welcome to the world of the African Diaspora International Film Festival (ADIFF). In our reality, people from diverse races, nationalities and backgrounds come together to enjoy important cinematic works of creativity, intellectual expansion, identity, and equality. In this world there are no boundaries around people because they are embraced in a universal understanding of humanity. This is the element of commonality that weaves through this annual event of images from Africa and the African Diaspora.


    New York Shorts International Film Festival is one of the largest showcases of short films in North America. Featuring a wide spectrum of film genres from emerging to established filmmakers around the world. New York Shorts has become a career stepping stone, establishing a tradition of discovering and promoting filmmakers who have gone on to be Academy Awards Nominees. NY Shorts offers short-form filmmakers an ideal platform to screen their film and gain recognition in the heart of New York City. In 2012 NY Shorts premiered Ricky Gervais ‘Derek”, which became a popular British television show picked up by Netflix. NY Shorts events include receptions, as well as workshops with industry experts and top filmmaking professionals sharing their practical advice to attending filmmakers. The heart of the festival is the quality and scope of extraordinary film programming to enthusiastic audiences in the vibrant filmmaking enclave of New York City. NY Shorts feels that short-form cinema and its creators should have their own premiere film festival in New York deserving similar recognition given to the feature film and its creators.
  • The 15th Annual IMAGINE SCIENCE FILM FESTIVAL at Cinema Village (Oct 14-20)

    The 15th Annual IMAGINE SCIENCE FILM FESTIVAL at Cinema Village (Oct 14-20)

    For our 15th Anniversary festival (Oct 14-21), our theme of the year is the Science New Wave, where scientific pursuit is free to co-exist and blend freely across disciplines and cultures. Scientific stories are becoming more personal and hybrid, tackling issues pertaining both to the individual and the world at-large. How are filmmakers, scientists and educators working together to create singular narratives? The boundaries between scientific data and cinema magic are dissolving. Similar to developing organisms, science films are emerging with new traits and new forms. The Science New Wave is born.
  • NEW YORK SHORT FILM FESTIVAL 2022 Starts November 11

    NEW YORK SHORT FILM FESTIVAL 2022 Starts November 11

    CLICK HERE TO BUY TICKETS! The 2022 New York Short Film Festival runs Nov 11-17. Showcasing the best of short filmmaking from around the world, the NYSFF celebrates indie films and filmmakers.   Here’s the 2022 Screening Schedule & Official Selection.


    WCFF's mission is to inform, engage and inspire audiences about the upmost need and importance of the protection of global biodiversity. WCFF does this through the annual film festivals in New York, Los Angeles and Monterrey, Mexico. WCFF also hosts in partnership events in Brazil, China, Nigeria and other countries. WCFF's educational outreach programs take place on college and university campuses across the globe. All education outreach events are free for students, staff, faculty and the public to attend. People that attend and participate in WCFF events are international wildlife conservationists, filmmakers, photographers, scientists and people across the globe that work toward the preservation of global biodiversity.
  • The Workers Unite Film Festival 11th Anniversary Season at Cinema Village NYC

    The Workers Unite Film Festival 11th Anniversary Season at Cinema Village NYC

    The Workers Unite Film Festival is a celebration of Global Labor Solidarity. The Festival aims to showcase student and professional films from the United States and around the world which publicize and highlight the struggles, successes and daily lives of all workers in their efforts to unite and organize for better living conditions and social justice. WUFF brings together activists, academics, and filmmakers of all ages and backgrounds for a celebration of social justice and the arts. Through dozens of documentary screenings, community forums, and interactive events across New York City, the festival provides working people with a platform to tell their stories while leading a movement for meaningful change. In recent years, we've incorporated theater production, live music, and poetry/spoken word nights. We are the largest worker solidarity themed film festival in the nation and the only one in NYC, with the full support of NYC Council Speaker Adrienne E. Adams, NYC Central Labor Council, National & New York State AFL-CIO, IBEW Local 3, PEF, 1199SEIU, The Puffin Foundation, The NY Labor History Association, UA Local 1 Plumbers, UFT, NYSNA, NY District Council of Carpenters, RWDSU, Workers United NY & NJ, and many more


    The 16th annual Manhattan Film Festival will again be hosted at the beloved Cinema Village. The Manhattan Film Festival was originally founded as the Independent Features Film Festival. Hosted at the then Tribeca Cinemas, it was the first film festival in which film selection was done online via a web-based competition. The festival continued to innovate and became the first to introduce a virtual platform. Shortly thereafter, the State of New York approved a name reservation to become the Manhattan Film Festival. The rest is history. Upon this transition, MFF became a traditional film festival, in which their programming team works very hard to annually program a diverse film lineup of established, emerging, and student filmmakers.      
  • THE NEW YORK TIMES Dead for a Dollar’ Review: How the Western’s Done (By A.O. Scott)

    THE NEW YORK TIMES Dead for a Dollar’ Review: How the Western’s Done (By A.O. Scott)

    Walter Hill’s lean, mean shoot-’em-up is a master class in B-movie craft. “A man has a job to do, or a couple of men. They try to do it against tremendous odds. They do it.” That was how Budd Boetticher, whose “B” westerns of the 1950s became touchstones of the genre, summed up his movies. Walter Hill’s sinewy new western, “Dead for a Dollar,” is dedicated to Boetticher, who died in 2001, and honors his memory with appropriate thrift and elegance. It’s also a reminder that Hill — who at 80 has had a career that includes cult classics (“The Warriors,” “Streets of Fire”), smash hits (“48 Hours”) and everything in between — is a master in his own right, whose artistry has often been overlooked and undervalued. The plot is maybe a little more complicated than what you’d see in “The Tall T,” “Ride Lonesome” or other Boetticher gems, but like them, “Dead for a Dollar” organizes its action around a set of practical challenges and ethical conundrums. There are more than a couple of men (and only one woman) involved in this caper, and the jobs they have to do put them at potentially fatal cross purposes with one another and with themselves. Everyone wants to stay alive and make a living, and also to follow whatever code they imagine constrains their behavior. It’s in the nature of things — certainly of westerns — that not everyone will succeed, and that philosophical arguments will be resolved with bullets. Hill, who wrote as well as directed, is in no hurry to get to the shooting. He understands the value of the slow buildup, and also likes to listen to his characters talk — especially the salty old desert rats played by Willem Dafoe and Christoph Waltz. When we first meet them, Joe Cribbens (Dafoe), a grizzled all-purpose outlaw, is about to be sprung from the New Mexico Territorial Jail. He carries a grudge against Max Borlund (Waltz), the businesslike bounty hunter who sent him there. The settling of their score will have to wait. Joe plans to retire south of the border for some R & R — he’s fond of poker, liquor and “señoritas” — while Max has a new assignment to deal with. An American soldier has run off to Mexico with the wife of a wealthy, politically ambitious landowner named Kidd (Hamish Linklater), who hires Max to hunt them down. It’s inevitable that Max and Joe will cross paths — the Mexico of American westerns is a small place, in spite of its vastness — but the movie has a lot of thematic ground to cover on the way to that meeting. The western genre traffics heavily in myth, and also in politics, and there’s plenty of both here. An archetypal drama about loyalty, treachery and honor winds through thickets of racism and greed. What Kidd describes as a kidnapping is in fact an interracial romance between Rachel (Rachel Brosnahan), his wife, and Elijah Jones (Brandon Scott), a Black Army sergeant. Elijah’s onetime friend Poe (Warren Burke), who is conscripted to help Max find the couple, has his own bitter experience as a Black man on the 1890s frontier. On both sides of the border, prejudice is sometimes trumped by the corrupting power of money, which makes a mockery of the idea of justice. Kidd’s counterpart in Mexico is Tiberio Vargas (Benjamin Bratt), a ruthless warlord whose whims can mean the difference between life and death. I’ll leave you to find out who lives and who dies, not because any of it is all that surprising but because one of the pleasures of “Dead for a Dollar” lies in appreciating Hill’s skill as a storyteller. He uses the plot as a trellis on which his sometimes florid characters can bloom, even as their choices quicken and thicken the plot. I don’t want to oversell this movie: It’s solidly and proudly a B picture, as the Boetticher dedication makes clear. But in an age of blockbuster bloat and streaming cynicism, a solid B movie — efficiently shot (by Lloyd Ahern II) and effectively acted (by everyone) is something of a miracle. Hill had a job to do. He did it. That’s worth something.
  • A Star without a Star: The Untold Juanita Moore Story REVIEW By Edward Brown

    A Star without a Star: The Untold Juanita Moore Story REVIEW By Edward Brown

    The documentary, the directorial debut of Kirk E. Kelleykahn, might sound from the title as though it is exclusively focused on a crusade to get Juanita Moore a star on the Hollywood Walk of Fame. However, the recognition that a deserving African American actress is without this specific honor is really just the starting point for a broader discussion about race in Hollywood and beyond. Kelleykahn does bookend the movie with scenes of the Walk and conversations he has with the powers that be at the Hollywood Chamber of Commerce, the folks who administrate the tourist attraction, but the bulk of the film really focuses on the life, times, and prolific career of Juanita Moore.   This is an interesting structural choice because it seems to suggest that the film’s presentation and praise of Juanita Moore is (pun intended) more important than getting her a star on the Walk. I personally like this approach because it makes it apparent that a star on the Walk of Fame does not deliver the justice that people like Juanita Moore deserve. The purpose of the film seems to be to highlight the resiliency, competency, and contributions of black actors in Hollywood rather than to grovel at the feet of whoever doles out Walk of Fame stars.   I think it’s cleverly subversive in that way. The documentary reveals the absurd amount of money, bureaucracy, and politicking that goes into getting a star on the Walk of Fame. It feels like such a grift! The whole system reeks of ego and ostentatious frivolity rather than professional merit. And I don’t say that to disparage anyone who wants to advocate for the merits of any one underappreciated actress or star. Kelleykahn is fighting for Moore’s legacy, and pointing out that this is an honor that she quite frankly deserves is a legitimate way of trying to preserve that legacy. However, the fact that such a prolific career can be reduced to the question of whether or not someone deserves a star painfully proves the documentary’s primary point: Racism in the motion picture industry not only reflects negative cultural norms in America, but exacerbates them through reinforcement in a sickening cycle of hate. It’s enough to make people want to riot. (And they did…several times.) However, the quiet grace and professionalism that Juanita Moore puts on display throughout A Star Without A Star effectively manage to assuage the indignity of her plight.   That her modesty comes through gives us a glimpse of the kind of person Juanita Moore was in addition to the accomplishments she achieved. A Star Without A Star does a great job of showing how she developed and utilized that humility and resiliency throughout her career and life. It also shows how her contemporaries did the same. Sidney Poitier gives several interviews throughout the film where he attests to the racism, typecasting, and industry ire that he and Moore endured. Kelleykahn shows us a tearful yet proud Hattie McDaniel being forced to sit apart from all the other white actors while she waited to accept her Oscar for best-supporting actress for her role as Mammy in Gone with the Wind (1939). The documentary makes the unwavering dignity that Juanita Moore and her contemporaries always comported themselves with feel almost saintly. Almost as if the Walk of Fame doesn’t even deserve Juanita Moore or them.   At the beginning of the documentary, the narrator, Jeffrey Poitier, the son of the late, great Sidney marvels, “If Mickey Mouse, Bugs Bunny, and Tinkerbell can all have stars, why doesn’t someone like Juanita Moore?” The narrator’s point is obvious. Painfully obvious if you’re a person of color. It’s a rhetorical question that Kelleykahn cleverly spends the rest of the film answering. It is a film that conspicuously, but fairly addresses historical racism in Hollywood and, subsequently, America. It will make viewers uncomfortable in a way that it should. It exposes the fallacy that America exists or has ever existed in a post-racial era. The film offers a profound scene where JFK asks, “Can we honestly say that it doesn’t affect our security and the fight for peace when negros and others are denied their full constitutional rights?” That should be a powerful moment for anyone that watches this movie or reads this review. And to be clear, the intention of the movie is not to shame America, but to expose the pervasive and insidious nature of racism and how it steals the spotlight away from people like Juanita Moore.
  • Virtual Q&As with Filmmakers, Director Maria Loohufvud & co-director Love Martinsen. Nov 5+6

    Virtual Q&As with Filmmakers, Director Maria Loohufvud & co-director Love Martinsen. Nov 5+6

    The love of dance and glitter bonds an unlikely group of 60-plus women in Southwest Florida – the Calendar Girls. But under the veil of fake lashes and unicorn horns lurks the deeper truths of what aging women face within society. Sisterhood, love, loss – all come into play in this uplifting film about trying to age on your own terms and refusal to become invisible.