James Gray's latest feature, "Paper Tiger," will inaugurate the New York Film Festival on opening night, Friday, September 25, screening in 35mm film. The family crime drama, set in the 1980s, stars Miles Teller, Adam Driver, and Scarlett Johansson.
Gray, the Brooklyn-born auteur behind "The Yards," "Two Lovers," and "Ad Astra," continues his exploration of American crime, family dysfunction, and moral ambiguity. "Paper Tiger" marks his return to the gritty domestic territory that defined his early work. The choice to screen the film in 35mm at one of America's most prestigious festivals signals Gray's commitment to celluloid, a stance increasingly rare among major directors navigating the digital revolution.
The New York Film Festival's decision to open with "Paper Tiger" represents both a vote of confidence in Gray and a statement about the festival's own priorities. NYFF, held annually at Lincoln Center, has long positioned itself as the custodian of serious cinema. Opening-night selections carry symbolic weight. They set the festival's tone and reflect curatorial vision. Gray's inclusion here, paired with the analog screening format, positions the festival as a defender of traditional filmmaking craft at a moment when streaming platforms and digital projection dominate the industry landscape.
The casting reflects Gray's consistent ability to attract top-tier talent. Teller, Driver, and Johansson each bring significant star power and critical credibility. Driver has established himself as one of contemporary cinema's most committed actors, moving seamlessly between indie projects and major studio films. Johansson, too, balances commercial visibility with selective prestige work. Teller's participation suggests Gray may be mining a different register than his previous work, given Teller's background in intensely intimate, character-driven narratives.
The 1980s setting positions the film within a specific historical moment. That decade has become a recurrent touchstone for American filmmakers examining the erosion of blue-collar life and the rise of organized crime's visibility in popular culture. Gray's sensibility, shaped by his deep engagement with cinema history and his fascination with urban environments, suits this material.
The formal choice to project in 35mm carries professional and cultural implications. It affirms that Gray shot on film, a decision that distinguishes "Paper Tiger" from much contemporary cinema. While digital cinematography dominates, major auteurs including Christopher Nolan and Paul Thomas Anderson have maintained allegiances to celluloid. Gray joins this cohort, suggesting "Paper Tiger" will prioritize texture, light, and the visual language that 35mm enables.
The festival premiere effectively launches "Paper Tiger" into the culture at a critical moment. NYFF screens new work for serious cinephiles, critics, and industry professionals. Opening-night status guarantees press coverage and audience attention. The film will likely generate festival buzz that extends through the fall awards season, positioning it as a contender in year-end conversations.
For Gray, "Paper Tiger" represents another chapter in a career marked by formal sophistication and thematic consistency. His willingness to revisit family crime narratives suggests he has not exhausted these subjects. The film's presence at NYFF, screened in the format Gray chose, confirms his standing as a director whose vision merits institutional support and ceremonial recognition.