A second party in two days at Tavern on the Green: following the Wednesday night opening soiree for “The Many Saints of Newark,” the New York Film Festival was a little upstaged but carried on around midnight last night for “The Tragedy of Macbeth.”

Denzel Washington, who’d been doing publicity all day. skipped the whole thing. His co-star Frances McDormand, and her husband director Joel Coen, carried on without him. McDormand, a three time Oscar winner, looked stunning and actually happy for a change. Coen seemed overwhelmed and tired. It’s not easy making a masterpiece and then talking about it for 24 hours to group after group but that’s what they did.

“Macbeth” is pretty much the only movie that’s totally sold out at the New York Film Festival. Almost every movie has plenty of tickets looking for buyers. There are long lists on the festival’s website. It’s not like the old days.

At the screening, Coen Brothers regular John Turturro and his wife were seen, along with actor Delroy Lindo. At the end of the screening and Q&A, Lindo shouted out to Denzel and then made a big hop onto the stage so he could join Macbeth behind the wings. Maybe they took off together, explaining the lack of Denzel at Tavern on the Green. Also on the scene: Hamilton star and Tony winner Daveed Diggs.

At Tavern on the Green, I congratulated Ethan Coen, who had nothing to do with the movie but was in great mood. He said, “I know, I know, you liked everything I did in the movie. I didn’t do anything!” Ethan is still making movies with brother Joel, but he’s also writing plays and short stories. I told him I noticed the Coens’ infamous fictitious film editor, Roderick Jaynes, got a big credit. “No,” Ethan said, correcting me. “It’s Rodney Jaynes now. Roderick only works on movies we do together!”

Among the guests was the great actress Kate Burton with her husband and daughter. She told me she’s shot four episodes so far of “Grey’s Anatomy” and there may be more. “But you know, I’m dead,” she said, laughing. Her character, Ellis Grey, was killed off years ago. But lately “Grey’s” has become “The Walking Dead”!

Was it a better party than “Many Saints”? Well, they didn’t have the cool band that serenaded the “Sopranos” but there were better desserts. You can’t have everything!

Friday night we finally got to see Joel Coen’s “The Tragedy of Macbeth” at Alice Tully Hall in Lincoln Center. I bought my tickets since the Film Society of Lincoln Center went out of their way to make my life difficult. Turns out, it was the best money I could have spent.

Apple and A24 are releasing “Macbeth” at Christmas. They’ve got their Oscar movie here, with startling performances from everyone starting with Denzel Washington, Frances McDormand a huge supporting cast of knockout actors. Chief among them is Kathryn Hunter, a theater actress who stole the show in Julie Taymor’s “Midsummer Night’s Dream” a few years ago in Brooklyn. But there’s also Corey Hawkins, Alex Hassel, Stephen Root, Brendan Gleason, Moses Ingram, Bertie Carvel, Jefferson Mays, Brian Thompson, and so many more. This movie is cast like a spectacular flower arrangement, very exactly with specific purposes.

It’s also shot that way. Coen, working without brother Ethan this time, wrote and directed, used Bruno Delbonnel for cinematography and Stefan Dechant for production design. Coen edited the movie himself under the name Reginald Jaynes, a new pseudonym (Reginald’s fictitious brother Roderick edited all the other Coen brothers movies) with Lucian Johnston. They’re all getting Oscar nominations.

This “Macbeth” is shot in a gorgeous black and white that would make Woody Allen jealous. It’s like what we used to call in the magazine business “four color black and white” similar to what the Coens used for “The Man Who Wasn’t There.” It’s also shot in an old fashioned ratio, so the frame is square,not rectangular. The last contemporary movie I remember like this was “The Artist.”

What Coen has achieved is magnificent and monumental, not words to be thrown around. He’s exceeded his best past work and then some. This production is almost hybrid theater-cinema, using the best techniques of each. They’re literally going to have make a mini documentary about how Coen et al conceived these sets, the lighting, the noir-ish look of Scottish moors created on a soundstage. Some of the sets had the moody feel of the Metropolitan Opera sets for the  Ring cycle. Some of them had nods to Julie Taymor. But knitted together they form their own unique universe.

So McDormand is Lady Macbeth (a leading role, Fran, not supporting), Denzel is Macbeth, they are calmly scary and duplicitous political plotters who kill King Duncan (Gleason) and basically go mad as they overreach for power.  Denzel is understated and keenly a royal wannabe before he loses his mind. It’s a very unusual performance for him and one his most powerful. McDormand is always letter perfect. Her Lady Macbeth has one scene I really loved where her eyes are closed, she’s waking up to realize she’s achieved her goal. It’s delicious. Hunter plays the three witches in a turn that is frightening and mesmerizing.

I was a little skeptical going in tonight because “Macbeth” already had a 100 on Rotten Tomatoes. Does it have faults? I’m sure in time we’ll find some. But Joel Coen and company are working at a higher level than almost anything else this year or last or recent times. This isn’t a blockbuster. It will need the help of Apple TV. This “Macbeth” is a piece of art.

We’re going to be talking this movie a lot come the late fall. But for now, we all have something to look forward to.

Jane Fonda and Lily Tomlin are so popular in their Netflix sitcom, they’re making not one but two movies when they wrap the 7th and final season this winter.

But here’s the twist: the movies have nothing to do with “Grace and Frankie.”

The first film is called “Moving On,” with Paul Weitz directing them with Malcolm McDowell and Richard Roundtree. Jane and Lily play old friends who reunite at a funeral and have take down an old mutual foe (McDowell) with the help of “Shaft.” Sounds great.

The other film for these dynamo actresses comes after “Moving On” and has an all star cast. But I’ve been sworn to secrecy for the time being. Trust me, it’s good.

Jane and Lily first collaborated, with Dolly Parton, on “Nine to Five” in 1982. They just keep rocking. PS You can watch the first four episodes of “Grace and Frankie,” season 7 right now on Netflix.