How Cameron Winter’s Carnegie Hall concert became an album and a 35mm film

Partisan Records releases Cameron Winter’s *Live at Carnegie Hall* on Oct. 9. The album is a recording of the Geese singer-songwriter’s solo show at Carnegie Hall on Dec. 11, 2025. Winter announced the album on Aug. 19, according to Stereogum.

Paul Thomas Anderson filmed the same performance. The concert film was shot on 35mm and 16mm, and Janus Films and Criterion distribute it in North America. An exclusive 35mm tour begins on Nov. 20, with tickets on sale from Sept. 17.

What the live album contains

The album runs 11 tracks in Stereogum’s listing, and The Needle Drop gives 12. It opens with ‘It All Fell In The River’ and closes with ‘Vines’. The sequence also includes ‘Try As I May’, ‘The Rolling Stones’, ‘Love Takes Miles’ and ‘Take It With You’.

According to Stereogum, Winter performed alone at a piano with his back to the audience. The set included three unreleased songs and reworked tracks from *Heavy Metal*, his 2024 solo debut.

Partisan Records issues the release, and Music Week lists Play It Again Sam alongside the label. Music Week also says Winter is one of the youngest solo artists to headline the hall’s main auditorium.

The release date differs between sources. The Needle Drop gives Oct. 8, while Stereogum, The Fader and Music Week all give Oct. 9.

Album and tour dates
Live at Carnegie Hall is due Oct. 9 on Partisan Records, according to Stereogum and Music Week. The exclusive 35mm North American tour opens Nov. 20 in New York, according to The Fader.

How the film was shot and credited

The film documents one Carnegie Hall show that Winter played after a months-long, sold-out tour with Geese, according to The Cinematheque. Anderson filmed the show from the stage with a large vintage film camera setup, according to The Fader.

Hypebot says the film was shot on 16mm and 35mm, and that Winter accompanied himself on a Steinway grand piano. It also says Anderson directed and shot the film, with a crew that included Benny Safdie.

The Fader credits Safdie as co-producer, and Music Week lists him as a camera operator. The Cinematheque lists Sara Murphy, Erica Frauman and Maggie Ambrose as producers.

The Cinematheque credits Ariel Rechtshaid for sound, and Music Week says he recorded and produced the music for the film.

Runtime figures differ. The Cinematheque gives 72 minutes, and Hypebot gives 75.

The Cinematheque quotes Adrian Horton of The Guardian calling the film ‘An immediate classic.’ The same page lists Rolling Stone’s David Fear, who asks whether it is one of the best concert movies ever made, and GQ, which praises the Carnegie Hall show.

Premiere, rights and distribution

Hypebot gives Oct. 1 for the world premiere at the New York Film Festival, with Anderson and Winter attending. Music Week names the same festival for the world premiere but gives no date. It also lists a UK premiere at the 70th BFI London Film Festival in 2026.

Janus Films and Criterion distribute the film in North America, according to The Fader, The Needle Drop and The Cinematheque.

Music Week describes Mubi as a streaming service, distributor and production company. It reports that Mubi acquired global rights outside North America and plans to screen the film in 2027.

The North American tour schedule

The North American run is built around 35mm prints that move from city to city. Hypebot names FotoKem as the maker of the prints, which will travel through North American theaters from Nov. 20, and the schedule currently extends through Jan. 18.

Tickets were scheduled to go on sale Sept. 17 at cameronwinter.film, according to The Fader. The Nov. 20 New York opening and the Sept. 17 on-sale date each appear in more than one source.

The New York opening dates are Nov. 20 at Village East by Angelika and BAM Rose Cinemas, according to The Fader. The Needle Drop also lists Village East by Angelika and the Brooklyn Academy of Music on Nov. 20.

Los Angeles is where the lists differ. The Fader gives the Aero Theater in Los Angeles for Nov. 20, while The Needle Drop places the Aero Theatre in Santa Monica on Nov. 20 to 22. Both list Los Feliz 3 in Los Angeles on Nov. 23.

The Fader lists the AFI Silver Theater in Washington on Nov. 27. The Needle Drop lists the AFI Silver Theatre in Silver Spring, Maryland, on the same date.

Later stops include the Castro Theatre in San Francisco on Dec. 2, the Music Box Theatre in Chicago on Dec. 4, and the Museum of Fine Arts in Houston on Dec. 17. Atlanta’s Plaza Theatre and Dallas’s Texas Theatre are both listed for Dec. 5.

The Fader places the Coolidge Corner Theatre in Boston on Dec. 8. The Needle Drop places it in Brookline, Massachusetts, on the same date.

The two lists differ on the January stop. The Fader lists the State Theatre in Ann Arbor, Michigan, on Jan. 15, while The Needle Drop lists the State Theatre in State College, Pennsylvania, on Jan. 15 to 17. Both list Portland’s Hollywood Theatre as the last stop, starting Jan. 18.

The Needle Drop also lists Austin, Omaha and Tucson in the same stretch of the tour. The Fader says more dates and locations will be shared ‘in the weeks to come.’

The North American run is built around 35mm prints that move from city to city.

Canadian screenings in Toronto, Vancouver and Montreal

The Needle Drop’s tour list gives three Canadian venues: TIFF Bell Lightbox in Toronto on Dec. 2 to 3, The Cinematheque in Vancouver on Dec. 11 to 14, and Cinematheque Québécoise in Montreal on Jan. 12 to 13.

The Cinematheque’s own page confirms the Vancouver run at 1131 Howe Street, on Dec. 11, 12, 13 and 14. It lists seven screenings in 35mm, all marked sold out, and gives the run as a Vancouver premiere.

The Toronto and Montreal dates come only from The Needle Drop’s listing.

Why concert films are returning to celluloid

Hypebot argues that thousands of performances each night are reduced to six-inch vertical videos, such as crowd reactions and shaky phone footage. It says this lowers the quality of watching live music on phones, and that filmmakers including Anderson and Brady Corbet are returning to celluloid and theatrical release for concert films.

Hypebot cites global attendance at Live Nation concerts of 159 million in 2025, and a summer 2026 domestic box office of about $4.6 billion, its strongest summer since the pandemic. It also says movie theaters have recovered more slowly and unevenly over the past decade.

Its precedents include *Stop Making Sense*, directed by Jonathan Demme, and *Gimme Shelter*, by Albert and David Maysles and Charlotte Zwerin. *Gimme Shelter* began as a Rolling Stones tour film and became a portrait of the 1969 Altamont concert.

*The Last Waltz*, released in 1978, filmed The Band’s 1976 farewell concert with seven 35mm cameras. Hypebot also cites *Monterey Pop*, D.A. Pennebaker’s 1967 film of the Monterey festival, and *Pink Floyd: Live at Pompeii*, which was filmed without an audience.

Hypebot lists Anderson’s film alongside an untitled David Byrne concert film directed by Brady Corbet. It captures several performances in Byrne’s hometown of Baltimore, shot in 8-perf and 15-perf 70mm, with 13 musicians, singers and dancers. Hypebot says release and distribution details have not yet been announced.

For Winter and Anderson, the same night now reaches audiences in two forms: a live album and a 35mm print for theaters. The album arrives on Oct. 9, and the film’s tour starts on Nov. 20.

Photo: Lygonstreet · CC BY-SA 4.0 · via Wikimedia Commons