Sorry for previous distractions and being the last daily columnist to riff on the 2019 New York Film Festival slate. The three hotties are still Martin Scorsese‘s The Irishman, Noah Baumbach‘s Marriage Story (which the other three major festivals are also showing) and Edward Norton‘s Motherless Brooklyn — all previously announced, all with special berths.

Among 2019 NYFF selections that were first seen in Cannes, I was respectfully mixed on Kantemir Balagov‘s Beanpole and Jean-Pierre and Luc Dardenne‘s Young Ahmed, and I was no fan of Kleber Mendonça Filho and Juliano Dornelles‘s metaphorical, ultra-violent Bacurau. On top of which I was completely unimpressed by Corneliu Porumboiu‘s The Whistlers. But I admired Marco Bellocchio‘s The Traitor, and I loved — worshipped — Diao Yinan‘s The Wild Goose Lake.

The main intrigue (for me, this morning) is the inclusion of Kelly Reichart‘s First Cow. Women and Hollywood, posted 11.2.18: “Set in 1820s Oregon and China, the film follows Cookie Figowitz, a cook for a party of volatile fur trappers trekking through the Oregon Territory in the 1820s, joining up with the refugee Henry Brown…the two begin a wild ride that takes them from the virgin western territory all the way to China and back again.” Cowritten by Reichart and Jonathan Raymond (cowriter of Meek’s Cutoff, Night Moves), and based on Raymond’s novel “The Half Life”. No clue who’s playing “Cookie,” but the costars are John Magaro, Rene Auberjonois and Dylan Smith.

I missed Mati Diop‘s Atlantics: A Ghost Love Story in Cannes, so it’s a welcome inclusion here.

World of Reel‘s Jordan Ruimy: “A big surprise is no Uncut Gems from New York’s very own Josh and Ben Safdie. What does that say about the movie itself? A heavily NYC-based movie side-stepping the biggest NYC film festival does make you wonder what happened Pic is set to premiere at Telluride and then Toronto.

“Also not going to NYFF is more mainstream Hollywood fare such as Jojo Rabbit, The Aeronauts, The Laundromat and The Two Popes, not to mention Hirokazu Kore-eda’s The Truth, Roy Andersson’s About Endlessness and Pablo Larrain’s Ema. So basically, the NYFF has decided that this year’s fall lineup of Hollywood films just isn’t for them, with the exception of The Irishman, Marriage Story and Motherless Brooklyn.”

Other NYFF standouts: Pedro Almodóvar‘s Pain and Glory, Bong Joon-ho‘s Parasite, Olivier Assayas‘s Wasp Network, Albert Serra‘s Liberte, Arnaud Desplechin‘s Oh Mercy!.