Paul Thomas Anderson's "Cameron Winter at Carnegie Hall" premieres at New York Film Festival
Paul Thomas Anderson's concert film of Cameron Winter's December 2025 solo show at Carnegie Hall had its world premiere at the New York Film Festival. Reviews in Variety and Rolling Stone praise it highly.
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The story, neutrally told
Left"Cameron Winter at Carnegie Hall", directed by Paul Thomas Anderson, had its world premiere at the New York Film Festival on 2 October 2026. VarietyLC “which had its premiere tonight at the New York Film Festival” Read at Variety ↗ Rolling StoneL “to present the documentary’s world premiere at the New York Film Festival” Read at Rolling Stone ↗ LeftThe film records the solo performance Cameron Winter, the Geese frontman, gave at a packed Carnegie Hall on 11 December 2025. VarietyLC “is a record of the solo performance that Cameron Winter gave in front of a packed Carnegie Hall on Dec. 11, 2025” Read at Variety ↗ LeftVariety says it runs 75 minutes and consists entirely of Winter at a Steinway grand piano singing; Rolling Stone describes the show as little more than a man, a piano and two taped-together microphones. VarietyLC “it consists in its entirety of Winter sitting at a Steinway grand piano” Read at Variety ↗ Rolling StoneL “Winter’s show was little — “little” — more than a man, a piano, and two-taped-together microphones.” Read at Rolling Stone ↗
LeftSongs named in the reviews include "It All Fell in the River", "If You Turn Back Now", "$0", "Take It With You", "The Rolling Stones" and "Cancer of the Skull". VarietyLC “He hooks you from the opening number, “It All Fell in the River”” Read at Variety ↗ Rolling StoneL ““The Rolling Stones,” and the exquisitely titled “Cancer of the Skull”” Read at Rolling Stone ↗ LeftVariety's Owen Gleiberman calls it a "rhapsodic" solo concert movie, praising its sound and Winter's baritone, comparing the singer to Bob Dylan and Thom Yorke, and noting that Anderson frames the piano from different angles in a yellow-orange glow. He says the film might be a touch lugubrious were it not for Winter's voice, and that Geese have been overpraised compared with Winter's 2024 solo record "Heavy Metal". VarietyLC “is most magically reminiscent of is Bob Dylan”“the whole movie is bathed in a yellow-orange glow”“The movie might be a touch lugubrious if it weren’t for that voice of his” Read at Variety ↗ LeftVariety also notes this is Anderson's second music-performance film, after "Junun" in 2015. VarietyLC “directing his second music-performance film (after “Junun,” his 2015 Jonny Greenwood-goes-to-India trifle)” Read at Variety ↗
LeftRolling Stone's David Fear asks whether it is one of the best concert movies ever, saying it captures a performance and elevates it, and likening its closeness to Jonathan Demme's "The Perfect Kiss" video for New Order more than to "Stop Making Sense". Rolling StoneL “Anderson’s portrait understands both how to capture a performance and how to elevate it.”“The real touchstone here, however, is a different Demme production: his music video for New Order’s “The Perfect Kiss.”” Read at Rolling Stone ↗ LeftRolling Stone reports that Benny Safdie worked as both cameraman and producer, and that Anderson and Winter had been seen filming with Panavision rigs at the Carnegie Hall show, prompting online comment at the time. Rolling StoneL “Safdie (who does double duty as cameraman and producer)”“how both of these namebrand auteurs were running around with Panavision rigs on their shoulders” Read at Rolling Stone ↗ LeftAt the premiere, Anderson and Winter appeared on stage and thanked festival director Dennis Lim; Winter also thanked "Andrew" (as in Carnegie), and Anderson joked "You don't talk so much" to the near-silent Winter. Rolling Stone says the audience watched in hushed reverence. Rolling StoneL “Both he and his subject thanked the festival director Dennis Lim; Winter thanked “Andrew” (as in Carnegie).”“with the crowd greeting every song with hushed reverence” Read at Rolling Stone ↗
Every sentence links to the reporting it rests on. The pill in front of each says where its sources sit: Left, Centre or Right when one side supplies at least half of them, Mixed when they are evenly split.
Left2 outlets
- Framing
- Both left-leaning outlets run enthusiastic reviews, presenting the film as an exceptional concert movie and praising Winter and Anderson.
- Emphasis
- Variety stresses sound and Winter's voice, with comparisons to Dylan and others; Rolling Stone stresses Anderson's craft, concert-film lineage and the premiere atmosphere.
- Leaves out or plays down
- Neither covers release or distribution plans in the text, and there is no critical or dissenting voice; only reviews are available, from one side of the spectrum.
- Charged language
- “Rapturous”“sublime”“transcendental”“miraculous instrument”
- For example
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“Paul Thomas Anderson Directs a Rapturous Solo Concert Movie” — Variety
“Did Paul Thomas Anderson Just Make One of the Best Concert Movies Ever?” — Rolling Stone
“something so sublime as to make you so teary and euphoric” — Rolling Stone
Centre0 outlets
No centre outlet in our sources has covered this story yet.
Right0 outlets
No right outlet in our sources has covered this story yet.
What every side reports
- The film had its world premiere at the New York Film Festival.
- It documents Cameron Winter's solo piano-and-voice show at Carnegie Hall in December 2025.
- Both reviews are strongly positive and praise Winter's voice and Anderson's restrained direction.
Paul Thomas Anderson person
As director, Anderson is presented as humanist and restrained, letting the performance dominate; at the premiere he thanked the festival and joked with Winter.
“Anderson, like his hero, is a humanist at heart” — Rolling Stone
“Anderson wisecracking “You don’t talk so much”” — Rolling Stone
Cameron Winter person
Winter is presented as the subject and performer, a 23-year-old who said little at the premiere beyond thanks.
“the 23-year-old human gracefully tickling ivories” — Rolling Stone
“Winter thanked “Andrew” (as in Carnegie).” — Rolling Stone
Left2 articles
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VarietyLC · · Opinion
Celebratory Review hailing the film's sound and Winter's voice as a spell-casting, Dylan-like performance, with mild reservations about Geese and slow tempo.

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Rolling StoneL · · Opinion
Did Paul Thomas Anderson Just Make One of the Best Concert Movies Ever?
Celebratory Review arguing the film is among the best concert movies, placing it in a Demme-influenced tradition and describing the premiere.

Centre0 articles
No coverage yet.
Right0 articles
No coverage yet.
- 2 Oct 06:51 First VarietyLC ‘Cameron Winter at Carnegie Hall’ Review: Paul Thomas Anderson Directs a Rapturous Solo Concert Movie Built Around the Songs — and Haunting Sound — of Cameron Winter Opinion
- 2 Oct 16:30 +9h 38m Rolling StoneL Did Paul Thomas Anderson Just Make One of the Best Concert Movies Ever? Opinion
Times are when each article was published, or when we first saw it if the outlet gave no time.