Tribeca Film Festival 2019: 25 Movies We Can’t Wait to See – Rolling Stone
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25 Movies We Can’t Wait to See at Tribeca 2019

From music docs on D’Angelo, Sublime and Linda Ronstadt to dystopic sci-fi and a Manson biopic — our picks for the downtown NYC fest

Linda Ronstadt, D'Angelo and Alec Baldwin (as John DeLorean) in three of our must-see picks for the 2019 Tribeca Film Festival.

Henry Diltz; Carina Bijlsma; Sundance Selects

From downtown-rebound project to destination fest — at this point, everyone knows the backstory behind the Tribeca Film Festival. Jane Rosenthal and Robert De Niro’s plan to help revitalize the neighborhood in the wake of 9/11 eventually turned into the sort of annual gathering that attracted not just curious locals, uptown moviegoers with a subway pass and Famous Friends of Bob, but also a host of international filmmakers, veteran writer-directors, up-and-coming young talent, name-brand stars looking to do something besides superhero movies, V.R. folks, multimedia programmers and all sort of likeminded creatives.

And while its recent addition of a TV/episodic sidebar has sweetened the deal (this year, we highly recommend you check out George Pelecanos and Gbenga Akinnagbe’s anthology D.C. Noir in that section), it’s still all about the movies. To wit, we’re highlighting 25 films from the fest’s various sections — from dystopic sci-fi parables to modest indie character studies, German road movies to a Charlie Manson biopic starring the guy from The Crown. (And lots and lots of music docs — tragic gone-too-soon rock star stories seem to be quite the rage these days.) Some we’ve seen and love, some we’re chomping at the bit to check out. All of ’em you can see if you happen to be heading downtown.

‘Only’

A passing comet blankets Earth in a white ash that proves fatally toxic to any female it touches; with the future of humankind at risk, women who haven’t died of the mysterious illness are hunted and sold for babymaking. Practical if controlling, Will (Tony Award-winning Hamilton star Leslie Odom Jr.) is determined do whatever it takes to keep Eva (Freida Pinto) alive. But eventually, she’s willing to risk everything for one final journey outside. Part Children of Men, part Handmaid’s Tale, writer-director Takashi Doscher’s sci-fi opus separates itself from those gender dystopias by zeroing in on one young couple’s fight to survive the plague and how it wreaks havoc on their relationship. MF

‘Other Music’

Spotify, Apple Music et al. have nearly every song on the planet and god forbid you interact with another human for music recommendations in 2019. But Other Music, the venerated NYC record store, was a mecca to discover new artists, albums and even genres you barely knew existed. The most complex algorithm has nothing on someone cooler (and possibly snobbier) than you excitedly hyping up their latest discovery — a lost art highlighted in Rob Hatch-Miller and Puloma Basu’s tribute to the shop, which closed its doors in 2016. Everyone from Depeche Mode’s Martin Gore to Jason Schwartzman eulogize both the loss of the retail space and what it represented. JN

The Projectionist (2019)

‘The Projectionist’

Growing up in Cyprus, Nicolas Nicolaou loved the movies. When he emigrated from Greece to New York City in the 1970s, he’d eventually, Nicolaou would buy a Forty Deuce’s skin-flick palace and use the proceeds to help fund several other film theaters around town — using a porn house to literally keep arthouses in business. Director Abel Ferrara takes you on a tour of a long-lost New York, when an enterprising cinephile could see Behind the Green Door in the afternoon then take the A train uptown to catch a Bertolucci drama in the evening. And he shines a light on Nicolaou’s current project: the Cinemart Theater in Forest Hills, Queens, which keeps the flame of public moviegoing burning bright. DF

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‘The Quiet One’

Maybe Bill Wyman thought his legacy would simply be a footnote in a rock & roll history book, or perhaps the ex-Rolling Stone was simply feeling sentimental. But after years of being extremely close-lipped (despite a rather notorious tabloid-ready scandal), the 82-year-old bassist decided to talk about his life as part of a legendary rhythm section and open up his massive archives to documentarian Oliver Murray. Expect a treasure trove of old photos and home-movie footage, anecdotes about the Stones’ highs and lows and why he decided to call it quits in 1993. And given that this is 2019, you should probably brace yourself for a personally conflicted screening experience as well, no matter how big a Stones fan you are. DF

Misa Hylton. Photographer: Dove Clark

‘The Remix: Hip Hop X Fashion’

There’s a reason everyone and their mom wears colorful kicks, low-slung knit caps and splashy bomber jackets now — because hip-hop made it cool. This doc traces the rise of streetwear in popular culture and its elevation to high fashion, centering on big-name stylists from back in the day — Misa Hylton, Dapper Dan — who got their start dressing artists such as Lil’ Kim, Mary J. Blige, LL Cool J and Biggie and now collaborate with brands like MCM and Gucci.There’s a direct line from their work to today’s hypebeast culture and the emergence of superstar young designers like Virgil Abloh. Credit where it’s due. MF

Fionn Whitehead as Gillen & Stéphane Bak as William.

‘Roads’

Gyllen (Black Mirror: Bandersnatch‘s Fionn Whitehead) is a British kid who’s just stolen his stepdad’s RV while vacationing in Morocco. William (Stéphane Bak) is a Congolese teen who needs to get to France to find his long-lost brother, which is also where Gyllen’s father happens to live. The two hit the road, and it’s all crazy German hippies and group hashish smoke-outs and fun and games … until it isn’t. Actor-turned-filmmaker Sebastian Schipper follows up his 2015 kinetic one-shot wonder Victoria with a calmer, more contemplative story about the clashing of cultures, filtered through a buddy dramedy that personalizes the plight of immigrants and the shadow of white privilege. DF

Bradley Nowell, lead singer and guitarist of the reggae-punk band Sublime, performs at the Palace Theater Hollywood (1995). Credit:Image Courtesy of Universal Music Group.

‘Sublime’

All Bradley Nowell wanted was to hang out with his dog and get his band some local gigs in Long Beach, California. His punk/ska/reggae/beach-folk trio Sublime was destined for much bigger things, however, especially when their self-released tape 40 Ozs. to Freedom became an underground sensation and KROQ turned their song “Date Rape” into a hit. Their first album for a major label was finished and set to make them the next big thing — then, well, you know what happened next. Bill Guttentag’s doc interviews Nowell’s band mates, best friends, family members and fellow SoCal musicians (see: three-fourths of No Doubt) to tell the story of Nowell in their own words; the abundant amount of performance footage fills in the gaps. DF

Rights of Publicity and Persona Rights: Muhammad Ali Enterprises LLC Photo by

‘What’s My Name: Muhammad Ali’

He was “the Greatest” — and should you somehow have forgotten why Muhammad Ali earned that self-administered nickname, Antoine Fuqua’s two-part, three-hour portrait of the champ will most certainly restore your memory. Starting with his Louisville days as Cassius Clay, this look back at the boxing legend lands every punch: the 1960 Olympics, Sonny Liston, the Nation of Islam, having his title taken away, winning it back, “Fight of the Century,” Rumble in the Jungle, Thrilla in Manilla, those rough last bouts and his struggle with Parkinson’s syndrome. The footage of Ali in the ring (from his best-known bouts to some rare finds) is a K.O. DF

Actress: April Kidwell plays Nomi Malone in the stage production of "Showgirls! The Musical!" as featured in the documentary film "You Don't Nomi." Photographer Credit: Peaches Christ.

‘You Don’t Nomi’

As in Nomi Malone, the hard-livin’, hard-lovin’, very-hard-emoting heroine of Showgirls. (For the last time, people: She’s not a stripper, she’s a dancer!) This doc looks at how director Paul Verhoeven and screenwriter Joe Eszterhas’s follow-up to Basic Instinct was slated to be the sexiest Hollywood blockbuster ever made — and ended up a $45 million punchline. More importantly, it also charts how this Vegas-sized disaster then became a cult movie, a camp classic, a reclaimed satire of American vulgarity, a theatrical musical and, per writer Adam Nayman’s memorable phrase, a critically reappraised “masterpiece of shit.” DF

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