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The festival will also include gala tributes to Ralph Fiennes (whose second directorial effort, "The Invisible Woman," is a festival entry) and Cate Blanchett, most recently star of Woody Allen's "Blue Jasmine." "A festival can't be too festive," says Jones. "By festive, what I don't mean is adding on a lot of movie stars and red carpets. Movie stars and red carpets are part of it. But it means offering new things in a thoughtful way." The 52-year-old Jones, who has collaborated with Martin Scorsese on several documentaries, has the distinction of also having co-written a film at NYFF, Arnaud Desplechin's "Jimmy P: Psychotherapy of a Plains Indian," which stars Mathieu Amalric and Benicio Del Toro. (Jones recused himself from its selection process.) This year's film festival is rife with films that, to Jones, wrestle with the idea of what a movie is. There's Jia Zhangke's overlapping plotlines in "A Touch of Sin" and J.C. Chandor's near-wordless "All Is Lost," starring Robert Redford. The Convergence section, in its second year, incorporates transmedia entries that apply filmmaking in new storytelling ways. The first thing Jones sought for the festival was a staggeringly thorough retrospective of Jean-Luc Godard: "He's reinvented our idea of what cinema is over and over and over again." That the movies have become staid and in need of new ideas has been much discussed recently. A summer of blockbusters left even Steven Spielberg contemplating "the implosion" of Hollywood. Citing formulaic films like the famous flop "The Lone Ranger," Jones wonders if the long, mutually beneficial dichotomy of art and commerce in the movies is "winding down." But if the moviemaking business is in some tumult, the New York Film Festival can feel like a safe harbor. "What's there in the festival, that's cause for optimism," says Jones. "When you see a movie like 'Inside Llewyn Davis,' you want to stand up and cheer. Believe me, I would have except I was all alone in the screening room the first time I saw it." ___ Online:
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