The indefatigable Joe Lauro will bring a new film compilation to the Bay Street Theater in Sag Harbor tonight at 8 as host of “Legends of Rock,” a celebration of the diversity and passion of American music. A kickoff to the Sag Harbor American Music Festival, the film features rare clips of Sam Cooke, the Beach Boys, Etta James, B.B. King, Janis Joplin, Willie Nelson, Billie Holiday, Louis Armstrong, Bob Dylan, and many other music icons. Tickets are $15 and available online at baystreet.org.

Judy Carmichael, a Grammy-nominated jazz pianist, vocalist, radio host, writer, and Bay Street favorite, will take the stage Saturday at 8 p.m. with “Swing Time!”— a tribute to the Great American Songbook with music by George Gershwin, Cole Porter, Harold Arlen, and others. Ms. Carmichael, whose touring schedule has for years resembled that of a presidential candidate, is one of the world’s leading interpreters of stride piano and swing; she earned the nickname “Stride” from Count Basie. Tickets range in price from $35 to $55.

The Rising Stars Piano series at the Southampton Cultural Center will feature the classical pianist Nicholas King on Saturday evening at 7. Mr. King, who performed during the 2015 Pianofest season, will juxtapose German, Slavic, and Nordic idioms in the program.

The American pianist has performed throughout the United States, Canada, Ireland, and Europe, and his many prizes include the 2008 Jack Kent Cooke Award and the Royal Conservatory of Music Glenn Gould School Concerto Competition. Tickets are $20 in advance, $25 at the door, free for students under 21.

The Montauk Library will present “Gershwin: The Double Life of an American Icon,” a free concert by the classical-jazz pianist Alexander Wu, on Saturday at 7:30 p.m. In addition to performing a selection of the composer’s early pieces, Broadway songs, and such serious works as “Rhapsody in Blue,” Mr. Wu will delve into Gershwin’s life and career, which began on Tin Pan Alley and moved on to Broadway, Hollywood, and the creation of his well-known orchestral compositions.

The Choral Society of the Hamptons will hold auditions for its Christmas concert by appointment on Monday at the Bridgehampton Presbyterian Church. Those interested can call 631-204-9402 or visit the society’s website.

While high-profile films and well-known actors and directors are an important part the Hamptons International Film Festival, the work of film artists who will define the future of the medium is likely to be found in the festival’s competition section, a category distinguished by its focus on emerging, often first-time, filmmakers who take risks and challenge cinematic conventions.

Of the 126 films in this year’s festival, 10 features and 10 shorts have been selected for that section. None of the five narrative features is from the United States, while four of the five documentaries are by American filmmakers. 

David Nugent, the festival’s artistic director, pointed out that, while the country of origin doesn’t factor into the selection process, there are more documentaries than narrative features being made by emerging American filmmakers. 

“For narrative films on this scale,” he said, “our country — which I’m not excited to impugn, because I love our country — doesn’t really support artists the way other countries do. For example, this year we have films from Norway and France, and if you’re in one of those countries, you can find a lot more support from the government for art in general and filmmaking in particular than you can if you’re an American.” 

He added that there are more funding entities for documentaries in this country, such as HBO and some of the television networks. “To make a narrative film that doesn’t have a social-angle issue to it, you have to go out and find private investors.”

The competition category puts its money where its mouth is, so to speak, by awarding the director of its best narrative feature award a film production package of in-kind goods and services worth more than $125,000 and a cash prize of $3,000. For best documentary feature, the award is a $30,000 production package and $3,000 in cash. Prizes of $500 are awarded to the directors of the best short narrative and best short documentary.

Australia’s entry in the narrative feature category is Simon Stone’s “The Daughter,” an adaptation of Henrik Ibsen’s play “The Wild Duck.” Set in a present-day logging town, the film explores the kind of long-buried family conflicts that haunt Ibsen’s characters. 

From France and Qatar comes “Divines” by Houda Benyamina, winner of the Camera d’Or at the Cannes Film Festival, a sometimes funny, often suspenseful drama about two young Arab women in France, one of whom draws her more cautious friend into the world of crime.

“Glory” by Kristina Grozeva and Petar Valchanov is the story of a poor, solitary railway worker whose life is turned upside down when he finds a pile of cash on the tracks and decides to return it to the authorities. The corruption and bureaucracy of contemporary Bulgaria frame the tragicomedy. 

Henrik Martin Dahlsbakken’s “Late Summer” is a psychological thriller about an elderly Norwegian writer who, battling cancer, withdraws to her remote country home, where a Norwegian couple mysteriously intrudes on her solitude.

The final narrative feature is “The Long Night of Francisco Sanctis,” an Argentinian production by Andrea Testa and Francisco Marquez set in 1977, when a junta is in control. It follows an apolitical middle-class office worker who is given a choice between ignoring the risky request of an old friend or acting on information that could endanger his life.

The sole foreign documentary feature is “Those Who Jump,” a Danish film by Estephan Wagner, Mortiz Siebert, and Abou Bakar Sidibe, about African migrants hoping to cross into Europe by scaling a barrier between Morocco and the outlying Spanish city of Melilla. 

“American Anarchist” is Charlie Siskel’s portrait, structured around interviews, of William Powell, who at the age of 19 published “The Anarchist Cookbook.” Powell, who died in obscurity this year at the age of 65, reluctantly revisits his book, which is said to have influenced homegrown terrorists such as the Timothy McVeigh.

 “The Eagle Huntress” follows a 13-year-old Kazakh girl as she trains to be the first female eagle hunter in 12 generations of her family. Director Otto Bell was inspired to travel to Mongolia by photographs of the girl that appeared in National Geographic magazine.

Found footage sourced from YouTube forms the core of Dean Fleischer-Camp’s “Fraud,” which follows a lower-middle-class family whose father obsessively documents their consumption and mounting debt. The director and editor recontextualized the raw footage, pushing the boundaries of documentary and “truth.”

“Tower” by Keith Maitland transforms archival footage, interviews, and mostly black-and-white rotoscoped animation into a meditation on and reconstruction of America’s first mass school shooting, carried out by Charles Whitman in 1966 from the top floor of the University of Texas tower in Austin.

The narrative shorts are Ena Sendijarevic’s “Import,” about Bosnian refugees adjusting to a new life in the Netherlands; “In the Hills,” whose director, Hamid Ahmadi, an Iranian, feels isolated in his English countryside community; “The Itching,” a 15-minute clay animation by Hamid Ahmadi starring a shy wolf; “The Silence” by Ali Asgari and Farnoosh Samadi, about a girl who accompanies her mother to translate a doctor’s appointment, and Mounia Akl’s “Submarine,” in which Lebanon’s garbage crisis threatens one woman’s home.

The documentary shorts include Leonor Teles’s “Batrachian’s Ballad,” a fable that won a Golden Bear at the Berlin Film Festival; “Clinica de Migrantes” by Maxim Pozdorovkin, a look at one of the few American health clinics serving undocumented immigrants; Fabio Palmieri’s “Irregulars,” in which a migrant recounts his odyssey across the Mediterranean; Todd Doublas Miller’s “The Last Steps,” a collection of never-before-seen footage of the last human expedition to the moon, and “Whatever the Weather” by Remo Scherrer, about a girl’s struggle to survive her mother’s destructive alcoholism. 

The annual Sag Harbor American Music Festival, a celebration of the community through live music, starts tonight and continues through Sunday. The weekend offers a headline concert and fund-raiser, an abundance of free performances by South Fork musicians, and a music-themed film. 

Tonight at 7:30, the festival will launch at the Bay Street Theater with a screening of “Legends of American Music,” a film by Joe Lauro of Historic Film Archives. Doors will open at 6:30, and a special edition of the Jam Session, the weekly gathering of jazz musicians at Bay Burger in Sag Harbor, will entertain. 

Tomorrow at 8 p.m., the Main Stage concert and fund-raiser at the Old Whalers Church will feature Joan Osborne, a seven-time Grammy Award nominee, leading a trio whose other members are Jack Pettruzelli and Andrew Carillo. Ms. Osborne, who has performed on the South Fork and at the Suffolk Theater in Riverhead, is best known for the 1995 pop hit “One of Us,” but is also one of the finest female vocalists of her era. Her bluesy, rock ’n’ roll style has led her to perform classic songs in the documentary “Standing in the Shadows of Motown,” and she has collaborated with artists including Stevie Wonder, Bob Dylan, Emmylou Harris, and Taj Mahal. More recently she was a vocalist in Trigger Hippy, a group featuring members of the Black Crowes. 

Free performances will take place in locations around Sag Harbor on Saturday, including the “Off Main Stage” next to the American Hotel, Marine Park, the Civil War monument, the John Jermain Memorial Library, and at businesses including Dodds and Eder, the Sag Harbor Inn, Fishers Home Furnishings, and the Grenning Gallery. Artists, times, and locations can be found at sagharbormusic.org/schedule.

A dance party featuring Gene Casey and the Lone Sharks and Alex Kramer of the 5 Mile String band is on Saturday at 9 p.m. at the Dodds and Eder Big Tent. 

On Sunday from noon to 3 p.m., a free “mini New Orleans Jazz Fest,” featuring the HooDoo Loungers and the Lost Bayou Ramblers, will happen at Marine Park.

Tickets for the Main Stage Concert at the Old Whalers Church featuring Joan Osborne are $35, $60, and $100. Tickets for “Legends of American Music” at Bay Street are $15 in advance, $20 at the door. Tickets for the dance party featuring Gene Casey and the Lone Sharks are $25. All are available at sagharbormusic.org.

On the cusp of its 25th year, the Hamptons International Film Festival is at a crossroads. As it continues to grow in its programs and its stature, its leadership must decide where and how it will venture into the future. 

With Alec Baldwin and Randy Mastro now at the helm, it is a good time to take stock and see where the festival is headed. The two men, longtime board members, took over as co-chairmen last year following Stuart Match Suna’s retirement after 18 years as chairman. One of the festival’s founding board members, Mr. Suna remains chairman emeritus.

Both men said last month during separate interviews that they are satisfied with the festival’s size and reputation for generating early Oscar buzz. “We’ve shown the [Academy Awards] best picture seven out of eight years and six years in a row, and the best documentary four out of seven years,” Mr. Mastro said. “The best films and filmmakers in the industry are coming to our festival.”

Still there are ways the festival can strengthen and even expand, if the right balance can be achieved. Mr. Baldwin confirmed that there have been discussions of incremental growth, including ways to reach New York City patrons throughout the year and to offer more educational programs for aspiring filmmakers, screenwriters, and actors. Over the years, there has also been talk of broadening the festival to two weekends, with a more recent focus on offering a full program in Southampton and points west for the second weekend.

Mr. Mastro’s day job (for which he may be nearly as well known as Mr. Baldwin is for acting) is litigator for such high-profile clients as New Jersey Gov. Chris Christie and Chevron. In his earlier career he worked closely with former New York City Mayor Rudolph Giuliani, both as a prosecutor and as chief of staff and deputy mayor. In City Hall, he was credited for helping push organized crime out of New York City’s businesses and markets. He remains close to Mr. Giuliani and plays golf with him regularly in Southampton.

As an undergraduate at Yale, Mr. Mastro fell in love with the film classes he took as electives. He joined the festival board to help with legal services a decade ago at the behest of Mr. Suna. “I wanted to become a lawyer after seeing Gregory Peck in ‘To Kill a Mockingbird’ as a kid.”

He was reticent to discuss future plans in detail, but did acknowledge that an expansion to the western reaches of Southampton Town was a personal goal. “There is so much we can do to the west in terms of audience expansion and growth. I will be focused on this like a laser beam throughout my tenure.” 

“We do have an ambitious agenda for the future,” he said. “It’s not something we will do in one year or a few years, but for the long haul.” Over time, he expects the festival to become more and more of a destination spot for artists, producers, and distributors on the circuit.

Asked to reflect on the festival’s reputation as a country cousin to some of the more prominent operations, such as the often-concurrent New York Film Festival with which it is often in competition for guests, films, and audiences, Mr. Baldwin acknowledged the “quaint nature of the festival. The question becomes do you want to be more than that? What are the smart improvements? Where do we need to get better?” 

Many years ago at the Sundance Film Festival he said he overheard Robert Redford speaking to Geoff Gilmore (who was Sundance’s director for 19 years before joining the Tribeca Film Festival). “This movie was playing and the audience was howling and screaming. I don’t remember what movie it was, but Redford turned to Gilmore and said ‘This isn’t what I had in mind at all.’ ”

He added that Mr. Redford has said for the record that he was concerned about Sundance’s balance of art and commerce. Of the large festivals, Mr. Baldwin noted that Cannes is almost all market-driven “with a gold-leaf veneer of festival on top. Sundance has its share, but Toronto [International Film Festival] has a great mix of both. They are envied for that balance.”

The Hamptons festival is at the opposite end of the spectrum. “This is a pure festival. It’s about appreciation for cinephiles.” Sightings of Harvey Weinstein probably have more to do with his having a house here than an interest in picking up a film for distribution.

“I think everyone here knows what the festival is and wants it to remain that, because once you grow and grow, you have to feed that beast. Sundance is an enormous operation.”

“The not-for-profit world is like a walk through the woods. You are three or four bad turns away from being lost, and then you’re going to die in those woods,” Mr. Baldwin said. Without a proper sense of direction, “you can be out of business so quickly.” 

Even the targeted expansion they are speaking of will cost money, a fact that neither chairman is taking for granted. Mr. Mastro said it is crucial in their role “to ensure the administrative and financial stability of the enterprise.”

When Anne Chaisson took over as executive director, Mr. Baldwin said, she opened up the books to the board and worked to stabilize any potential weaknesses. The next step is to begin an endowment and find sponsors and benefactors who can be relied upon every year. “We are still a festival that goes year to year asking patrons or corporate people to give us money.” It would be better to have gifts that are sustained. 

Both men have taken on their new roles while retaining their previous responsibilities on the board. Mr. Mastro still addresses any legal issues that arise, and Mr. Baldwin still moderates and helps select films for the SummerDocs series with David Nugent, the festival’s artistic director. Depending on his schedule, Mr. Baldwin also moderates talks during the festival and extends invitations to actors such as Edward Norton, who is being honored this year, to participate in the “Conversations With” series.

Despite their very different lives, each appreciates the other. Mr. Baldwin premiered his imitation of Donald Trump on last week’s “Saturday Night Live,” while Mr. Mastro’s friend, Mr. Giuliani, is a prominent spokesman for the Trump campaign.

Mr. Baldwin recalled walking into a festival board meeting right after interviewing Steve Donziger, an environmental activist and one of Mr. Mastro’s longest and most bitter courtroom opponents, for his podcast. After he mentioned it to Mr. Mastro, Mr. Baldwin said “Randy almost spit his drink. All he could say was, ‘Really?’ ”

“This may sound facetious but it’s true: The more dastardly the person is who hires Randy, the more you see how good he is at what he does,” Mr. Baldwin said. “But when you meet Randy he is like a teddy bear. He is the sweetest, kindest, most thoughtful person. He’s a pleasure to work with.”

Mr. Mastro returned the compliment. “I have a blast working with Alec and his energy and enthusiasm. He is generous in every way.” During their first year, he said, they have agreed on every issue that has come up. “It’s like the last line in ‘Casablanca,’ ‘This could be the beginning of a beautiful friendship.’ ”

In addition to praising each other, both men were effusive in their praise for Ms. Chaisson and Mr. Nugent. “Nugent picks some great movies,” Mr. Baldwin said. “One year I saw nine films in three days. That was before I had kids.” He said he also loves working on SummerDocs with him. With family commitments and another baby at home, he said he had not done as much as he wanted to this year, but hopes to return to a more active role next year.

He may not have a choice. The 25th anniversary next year will “really surprise people with some of the programming we will have. We are pulling out all of the stops,” Mr. Baldwin said.

Group Show at Halsey Mckay

“Her Wherever,” an exhibition organized by Sara VanDerBeek and Sara Greenberger Rafferty, will open at Halsey Mckay in East Hampton with a reception Saturday from 3 to 6 p.m. and continue through Nov. 13.

Artists represented are Michelle Abeles, Becca Albee, Rachel Foullon, Anya Kielar, Annabeth Marks, Howardena Pindell, Julie Pochron, Eileen Quinlan, Ms. Rafferty, and Ms. VanDerBeek.

In a statement, the curators said the show “will include work which reflects the space where the image meets domestic and soft-edged labor, and process is politic. . . . In the works, process translates into a processing of information, feelings, and materials.”

Pinajian Works on Paper

The Lawrence Gallery in East Hampton will show “Arthur Pinajian: Works on Paper” from today through Oct. 26. A reception will take place Saturday evening 6:30 to 9. While the exhibition will focus on works on paper, particularly midcentury abstraction, it will also include oils and abstracted landscapes.

Pinajian was a colleague and friend of many of the New York School artists, including de Kooning and Gorky, but he was reclusive and put little effort into promoting or showing his art. After his death in 1999, five decades of artwork were found in a Bellport cottage he shared with his sister, whom he had implored to dispose of it. However, a cousin rescued the work of the artist, who was completely unknown during his lifetime.

Women Painting Women

The fourth iteration of “Women Painting Women: Our Collective Conscience,” a juried show of work by 17 women, will open Saturday with a reception from 6 to 8:30 p.m. at RJD Gallery in Sag Harbor. The show, which will continue through Nov. 20, will include work by 14 of the gallery’s female artists.

Nine Realists at Ashawagh

“Nine East End Realists,” an exhibition organized by Eileen Dawn Skretch, an East End landscape painter, will be on view from Saturday through Monday at Ashawagh Hall in Springs. A reception will be held Saturday from 5 to 8 p.m.

The show will include paintings from landscapes to still lifes by Emma Ballou, Aubrey Grainger, Ann Lombardo, Keith Mantell, Lucille Berrill Paulsen, Leo Revi, Joanne Rosko, Ms. Skretch, and Pamela Thomson. The gallery will be open Sunday and Monday from 11 a.m. to 5 p.m., Saturday from 11 to 8.

Michelle Stuart in London

London’s Parafin Gallery will present the work of Michelle Stuart, an internationally recognized artist for five decades, at Frieze Masters, which will be on view at Regent’s Park from today through Sunday. The exhibition will feature work from the 1970s and early 1980s with a focus on drawing, sculpture, place, and memory. Ms. Stuart lives and works in Amagansett and New York City.

Salon at Drawing Room

The Drawing Room in East Hampton will present “Autumn Salon,” featuring works by 11 artists, from tomorrow through Nov. 28. The exhibition will include painting, sculpture, prints, works on paper, and photography.

The paintings of Vincent Longo, Antonio Asis, and Christopher French are linked by an engagement with geometry. Both Jack Youngerman and Mel Kendrick have developed rich vocabularies of essential forms and structure, as evident in works on paper and sculpture.

Sue Heatley’s prints celebrate patterns and rhythm, while Ms. Bartlett’s silkscreen integrates textile design, still life, and abstraction. Raja Ram Sharma works in the tradition of Indian miniature painting, while Kathryn Lynch’s paintings capture the scenic panoramas seen from her house on Shelter Island.

Adam Bartos will exhibit photographs taken in 1981 at an ornate Victorian-era villa in Gujarat, India. Terra-cotta bas-reliefs from 1962 by Costantino Nivola depict the beach at Louse Point in Springs.

Art and Music Lounge in Sag

The Monika Olko Gallery in Sag Harbor will be the site of an Art and Music Lounge from today through Monday, from noon to 10 p.m. daily, in celebration of the Hamptons International Film Festival. 

Natalie Kates, a New York City curator, has organized the exhibition “The Art of the Narrative,” featuring the work of eight visual artists, while Kris Gruen has set up performances by four musical groups. The idea behind the lounge is that it will be a hub for festivalgoers to relax between screenings while surrounded by art and music.

“Born to Run” Photographs

The Tulla Booth Gallery in Sag Harbor will open an exhibition including previously unseen photographs taken by Eric Meola for Bruce Springsteen’s 1975 “Born to Run” album with a reception Saturday from 6 to 8 p.m. The show will continue through Nov. 3.

At the reception, Mr. Meola will sign copies of his new book, “Streets of Fire,” which features photographs taken during the production of Mr. Springsteen’s “Darkness on the Edge of Town” album. Also on hand will be a large-size slipcase version of “Born to Run,” the Boss’s just-published autobiography.

Hudson in the Hamptons

Gallery @ 46 Green Street, a venue in Hudson, N.Y., will have its second East Hampton pop-up exhibition on Saturday and Sunday at 1 Cobblers Court. “Art Is Home II: Hudson in the Hamptons” will include work by a dozen upstate artists. The hours are Saturday from 3 to 8 p.m., Sunday from noon to 4 p.m.

It is no coincidence that “The Castle of Perseverance,” the second exhibition at Crush Curatorial in Amagansett, will open on Saturday in conjunction with the Hamptons International Film Festival. Organized by Molly Surno, an installation artist who works in film, video, and performance, the show, which includes work by 15 artists, is an exploration of the function of symbols as props in visual art.

“The idea is to bring people into a space that is very cinematic,” Ms. Surno said during a conversation at the gallery. “It’s about how artists use a vocabulary of objects or props to create some sort of drama or narrative that isn’t closed but rather open to the interpretation of the viewer.”

The exhibition includes a variety of mediums rarely presented together on the East End: video, photography, painting, sculpture, and installation. Mathias Kessler, an Austrian artist, shows a video of a 3-D printed model of the Rosetta asteroid, revolving as if in space; the model itself is also on view. 

Other works include Oliver Michaels’s ceramic sculpture of get-well-soon balloons, Ben Hagari’s film with a soundtrack that runs backward and images printed in color negative to create a surrealist color scheme, and a painting by Jay Davis, whose almost cinematic space includes layers of paintings and other objects deployed within the frame.

The exhibition’s title refers to a 15th-century morality play that was the first theatrical production to use props other than masks. 

A reception will take place on Saturday from 6 to 8 p.m. The show will be open Saturdays from noon to 5 and Sundays by appointment through Oct. 22. Karen Hesse Flatow, who divides her time between New York City and Amagansett, is the creative director of Crush Curatorial, which is located in a converted potato barn at 68A Schellinger Road.

Columbus Day weekend on the South Fork has come to mean much more than changing leaves and pumpkin picking. It is also a long weekend of film, lots and lots of film. The Hamptons International Film Festival will begin next Thursday, and by the time it ends on Oct. 10 it will have screened 126 films — features and shorts, narrative and documentary.

Last week the festival announced the bulk of its lineup. It includes some of the most anticipated releases of the Academy Awards season, as well as smaller independent films and a selection from 32 countries, among which are eight world premieres, nine North American premieres, and 20 United States premieres. The East Hampton Star guide was published last week and is available throughout the South Fork. The full guide is also on the festival’s website.

Also on the docket is a series of “Conversations With” three actors. They are Aaron Eckhart, Holly Hunter, and Edward Norton.

  Mr. Eckhart is known for his performances in Neil LaBute’s films, among many others. He plays a boxing trainer in “Bleed for This,” directed by Kevin Rooney, which will be screened at the festival. His talk will take place on Friday, Oct. 7, at Guild Hall in East Hampton.

On Oct. 8, Ms. Hunter will be interviewed at the East Hampton Middle School. Her intense roles have included award-winning turns in “The Piano,” and her latest film, Katherine Dieckmann’s “Strange Weather,” will be one of those screened. Mr. Norton, who is being honored by the festival this year, will speak on Oct. 9 at the middle school.

HIFF has also announced its jury members for this year. They include David Edelstein, Mariska Hargitay, John Krokidas, Alexis Alexanian, Jason Janego, and Julie Goldstein. The festival’s relationship with the New York Film Critics Circle continues, with members serving as mentors, panelists, and jurors at various events.

The festival has already announced that it will open with “Loving,” Jeff Nichols’s film about a couple whose Supreme Court case did away with laws against interracial marriage in 1967. It will close with Ewan McGregor’s interpretation of “American Pastoral,” Philip Roth’s Pulitzer Prize-winning novel about a charmed family whose world falls apart after a violent crime.

In between, it will feature films such as the much praised “Manchester by the Sea,” from Kenneth Lonergan, about a working-class family in a Massachusetts fishing village; the aforementioned “Strange Weather,” starring Holly Hunter as a grieving woman in the Deep South trying to find answers so she can move on with her life, and Mike Mills’s “20th Century Women,” a drama set in Southern California in the late 1970s. Tickets to these five, which have already generated awards buzz from previous festival screenings, will cost the most, at $35 each. 

This year’s Spotlight Films include “Bleed for This,” “Burn Your Maps,” “Christine,” “Julieta,” “La La Land,” “Lion,” “Moonlight,” “The Ticket,” “Una,” and “Wakefield.” Tickets for these, which have or are likely to have distribution, are $28. The regular ticket price is $15, with discounts for senior citizens and children.

The festival’s World Cinema selections represent smaller entries from both domestic and foreign sources. The documentary titles are “Davi’s Way,” “Score: A Musical Documentary,” “Supergirl,” “Marathon: The Patriots Day Bombing,” “Franca: Chaos and Creation,” “Santoalla,” “Bunker77,” “Sour Grapes,” “Into the Inferno,” “God Knows Where I Am,” “Jeremiah Tower: The Last Magnificent,” and “Southwest in Salem: The Story of the San Antonio Four.”

The narrative films include “All the Beauty,” “The Teacher,” “Blue Jay,” “Goldstone,” “Original Bliss,” “The Red Turtle,” “Don’t Call Me Son,” “Frantz,” “Halal Love (and Sex),” “The Handmaiden,” “Lost in Paris,” “The Salesman,” “Lovesong,” “Donald Cried,” “I, Daniel Blake,” “Paterson,” “Toni Erdmann,” and “Under the Shadow.”

The festival’s View From Long Island section will feature “Legs: A Big Issue in a Small Town,” which is also a World Cinema selection. It follows the battle between Sag Harbor Village and two homeowners, Ruth Vered and Janet Lehr, after they installed a massive Larry Rivers sculpture on the exterior of their house. “The Killing Season,” a documentary that will run on the A&E channel, follows the investigation of the deaths of 10 sex workers whose bodies were found UpIsland on Gilgo Beach. 

Two short films will be included in this section: “Black Swell” by Jacob Honig stars Richard Kind, and “Prophet of Plas-teek” by Joshua Cohen takes place in Montauk. “God Knows Where I Am” is a documentary produced and directed by two brothers, Todd and Jedd Wider, with Long Island connections.

There will be eight programs of short films in addition to those running before features. They are the Narrative and Documentary Short Film Competitions, New York Women in Film and Television: Women Calling the Shots, Away We Go! Shorts for All Ages, Student Short Films Showcase, Get Off My Cloud, Runs in the Family, and Tilt & Shift. 

This year’s Films of Conflict and Resolution section will feature titles such as “Disturbing the Peace,” about former soldiers from Israel and Palestine becoming peace activists. Others include “Fire at Sea,” about the European migrant crisis, “I Am Not Your Negro,” based on a James Baldwin manuscript, and “Sonita,” about an Afghan refugee who dreams of becoming a rapper.

The Compassion, Justice, and Animal Rights section will offer “The Ivory Game,” about attempts to save African elephants from extinction, and “Unlocking the Cage,” a film by Chris Hegedus and D.A. Pennebaker of Sag Harbor. It looks at the efforts of an animal rights lawyer trying to establish case law to ensure that animals have legal protection.

The free talks at Rowdy Hall in East Hampton will return this year on Friday, Oct. 7, Oct. 8, and Oct. 9 at 10 a.m. Friday’s talk has not been announced yet, but Saturday’s will feature a chat with the documentarians competing for this year’s festival award. Sunday’s talk offers a look at the current status of women in film.

New this year is a Focus on Norwegian Film showcase for a selection of titles tied to that country, “All the Beauty,” “Late Summer,” “Magnus,” and “It’s Alright” among them.

“Betting on Zero,” the audience favorite from the festival’s SummerDocs series, will have an encore screening. Another special screening will take place on Oct. 9, when the Southampton Arts Center will show “The Addams Family,” the 1991 movie based on the cartoons of Charles Addams, who lived in Sagaponack.

The festival box offices, at Obligato on Main Street in East Hampton and the Southampton Arts Center on Job’s Lane, are selling individual tickets, which are also available online. The festival is offering passes and packages, too.