Once upon a time I used to blog about films all the time. But then I got fat and lazy and started having sex again and I pretty much threw my blog out the window so I could follow less noble pursuits. Well I’ve been feeling the itch lately and on top of everything else I’ve got AFI in a few weeks and I’d like to try and document the experience as I used to back in the good old days. So here I am, exercising my writing muscles.
These represent some of the more stream of conscious writing I’ve done but they certainly get the point across whether I fall on the “yay” or “nay” side of a film. This may be a rolling entry where I continue to add new titles or it may be the latest in a long-line of “one-off’s.” Either way, enjoy.
Changeling (2008 Clint Eastwood C) As has become Eastwood’s tradition with recent films, we get the studio logo at the head of the film in old fashion black and white, one would imagine harkening back to an earlier era of filmmaking where 70-something Clint might feel himself more at home. Who knew it would serve as a nifty metaphor for his distressingly limited world view? Essentially a Lars von Trier film without the irony or meta-context, here we get (a woefully miscast) Angelina Jolie in the Bjork-like role of the long-suffering woman crushed by a cruel, indifferent system while a host of TV actors including Jeffrey Donnovan using a distracting brogue, are trotted out as callous oppressors. Eastwood’s painting with a very wide brush here, never calling into question our heroine’s sanity, while simply presenting the LAPD as corrupt and lazy with no motivation beyond self-preservation. I mean was there nothing more to the entire scandal than a desire not to be publicly embarrassed? Actually the word “simple” seems the most apt adjective to employ here. Cheers for the wronged woman! Hisses for the evil institutions! Jolie murmurs and caterwauls her way to awards attention (she’s working from the Sean Penn playbook of parental suffering), Amy Ryan reprises a variation of the foul-mouthed hard-living working class character from Gone Baby Gone, John Malkovich is once again unable to disguise his Walken-like weirdness in a relatively normal character, and on it goes. To be honest, I’m not even sure what Eastwood is trying for here. Guess I’ll just have to look forward to Gran Torino.
Synecdoche, New York (2008 Charlie Kaufman B+) I understand the hatred towards this film but I think it’s misplaced. Complaints that it’s merely Kaufman chasing a rabbit up his own asshole are, frankly, several films too late. A couple days removed and I’ve already doodled out a handful of theories about the film: Is it a celebration of collaboration, with Hoffman’s ever-expanding merry troop following him blindly for decades, going to a place where their performances end up merging, superseding and defining their actual lives? Or is it an indictment of endless self-analysis from Hope Davis’ Lynchian in her omnipresence shrink to characters literally being able to stand back and look at how others would perform their lives (and in the most on the nose allusion, the film’s unending curiosity with human’s examining their own excrement)? Or for that matter is it anything more than a Buñuel -like head trip, creating small worlds within the confines of its own ellipses, never really pausing to explain itself or ground the film in an easy to place logic? I guess the point is that it doesn’t matter what reading you take (although I personally prefer the cautionary tale second one) because the journey is so surprising and lovingly melancholy. There’s elements of Southland Tales-type hubris on display but Kaufman admirably seems to have both hands on the wheel at all times even when the road we’re on is windy and opaque. This isn’t to say every gambit pays off; not by a long shot. Everything relating to Hoffman’s daughter is utterly baffling (and not helped by the curious casting of the nearly 40-year-old Robin Weigert), Kaufman’s patented preciousness (including a house that’s perennially on fire) can be a bit, um, suffocating. There’s also an inherent redundancy to the premise which can be patience trying (by my unofficial count there are four “real” funerals and an equal amount of staged ones). Still, I find myself returning to the film in my mind repeatedly, which I really could never say for Kaufman’s more widely accepted Eternal Sunshine of the Spotless Mind. Bonus: Emily Watson as Samantha Morton is perhaps the single funniest joke of the year.
Slumdog Millionaire (2008 Danny Boyle B) I’m prefacing this by saying that I’m overrating this, but only as it applies to my own scale. Most people will (and already do) like this a whole lot more than I did, which considering my disproportionate admiration for late-period Boyle (I’m even a pretty big Sunshine apologist) surprises no one more than myself. Which is a long convoluted way of saying that if I wasn’t such a Boyle fanboy I’d really nail this for being the facile and morally sanitized City of God (by way of Dickens) rip-off that it is. The star here is the setting (as it was in City) and Boyle’s joyous direction. When the film is divorced from its own dopey, high-concept premise it’s energetic and vital, casting a light on what still remains an under-documented third world culture. The film’s characters never really transcend their roles as ciphers (which isn’t to say the performances are bad by any means) so they’re often only as transcendent as the story they’re intertwined in. So, in summation, stuff with kids working as urchins for Fagin-like figure (complete with involuntary maiming) is riveting. Stuff with now adult characters working under the thumb of hazily defined mob boss plays like a bad FX show. Plus, as alluded to earlier, I’m not overly impressed with Simon Beaufoy’s gimmicky screenplay which makes the adorable mistake of confusing contrivance with destiny (then again Shyamalan’s been doing the same thing for the past decade and he comes from the same part of the world as this film, so maybe it’s a cultural thing). I’m willing to forgive how every question our hero is asked dovetails into a vignette explaining how he knew the answer but does it always have to come together in such a quaint and tidy bow? Eminently worth seeing though for the naturalistic child performances, Boyle’s zippy direction (there’s a fantastic early chase sequence through the streets of Bombay that puts to shame incoherent gibberish like the Bourne sequels) and Anthony Dod Mantle’s gorgeous photography which explodes in Technicolor hues of yellow, brown, read and green. It’s unfortunate that Pineapple Express co-opted M.I.A.’s “Paper Planes” this summer as the film features a heck of a sequence cut to it, the effect of which is mostly lost due to over-familiarity. Also, I hate to be “that guy,” but would it have killed them to just subtitle the whole thing?
Role Models (2008 David Wain B+) This is being compared to Judd Apatow, which really isn’t very fair. As far as I’m concerned Wain has been making me laugh for just as long (and with more regularity than) Apatow has and Rudd and Banks were in Wet Hot American Summer long before 40-Year-Old Virgin. As sell-out projects go, this might be without peer in melding formulaic high concept comedy (Wain and his co-writers came to the project late in development) with more scatological almost dada-inspired digression and grotesque characterizations. Sure, I could point out that once the plot kicks in you can anticipate every single dramatic beat about twenty minutes in advance and it all more or less ends up exactly where you would expect it to (complete with lessons learned and hugs). And yeah, the advertising for the film seems to highlight every dopey comedic set-piece and bit of broad physical comedy, but there’s a very good reason for that: everything else in the film is way too vulgar, angry or inside to ever put in a commercial. You’ve got Paul Rudd putting on a master class of passive annoyance and casual misanthropy. Snark has never been wielded with more laser specific precision which does wonders in cutting through much of the third act hokum that’s par for the course. And really, what more needs to be said about Jane Lynch who as a recovering coke addict turned community leader cheerfully over shares an increasingly horrifying back-story of degradation (there’s also a bit of business involving a hot dog bagel that’s so juvenile I feel like my driver’s license should be revoked for laughing at it). Plus, unlike Apatow, Wain can appreciate the comedic value of female nudity as well as male. I’m truly stunned something this acidic and angry even got greenlit. I suppose the best thing I can say for the film is I found myself annoyed at the density of jokes prevented me from hearing every third joke over my own laughter. Also, is Seann William Scott turning into a strong comedic actor or is he just blessed with exceptional taste in material (see also: The Promotion)? Who knew there was so much intentional comedic value in KISS?
Tuesday, October 28, 2008
Saturday, October 25, 2008
The Minutes of Andrew's Evening
A cross-section of the evening:
I spent 5 minutes talking to her and she asked to get a drink with me.
I spent 10 minutes talking to her and she started grinding up against me while dancing.
I spent 15 minutes talking to her and she assured me how good she looks naked.
I spent 20 minutes talking to her and she flashed me the strap of her thong.
I spent 25 minutes talking to her before we exchanged phone numbers.
I spent 30 minutes talking to her before she told me I was 4 years younger than her boyfriend.
I spent 30 minutes and 21 seconds before my hard-on fell into my sock.
38 minutes after we started talking some dude with abs and a v-neck t-shirt shows up and starts groping her ass on cue.
I waited 2 minutes after I got home to delete her number from my phone.
FUCKING BITCHES.
I spent 5 minutes talking to her and she asked to get a drink with me.
I spent 10 minutes talking to her and she started grinding up against me while dancing.
I spent 15 minutes talking to her and she assured me how good she looks naked.
I spent 20 minutes talking to her and she flashed me the strap of her thong.
I spent 25 minutes talking to her before we exchanged phone numbers.
I spent 30 minutes talking to her before she told me I was 4 years younger than her boyfriend.
I spent 30 minutes and 21 seconds before my hard-on fell into my sock.
38 minutes after we started talking some dude with abs and a v-neck t-shirt shows up and starts groping her ass on cue.
I waited 2 minutes after I got home to delete her number from my phone.
FUCKING BITCHES.
Thursday, October 23, 2008
AFI Schedule
Thanks to my good buddy Landon, I’ll be attending the AFI Film Fest this November for the sixth consecutive year, starting (for me anyway) on Halloween. I’m often critical of this particular festival as they seem to routinely squander both their standing as the most prestigious film festival in Los Angeles (FIND’s LA Film Fest has become a joke) as well as the scheduling coup of being the last major film festival of the calendar year. They’ve made a few changes over the years to be more in lock-step with the rest of the festival circuit, namely creating a Midnight Madness forum (this year rechristened “Alt Cinema”), lowered the price of their galas to an acceptable $25 a pop and scaling back on the number of American independent films which, in my experience, are often picked over after having failed to make a splash at Sundance, SxSW and Tribeca.
But this year I really have to take my hat off to the selection committee. In essence, they’ve created a year end Whitman’s Sampler, encapsulating the best titles from Sundance, Cannes, Toronto and NYFF giving those of us on the west coast a chance to catch up with many of the international titles journalists have been going nuts over for months. In fact, I’m so pleased about the job they’ve done cherry picking titles that I’m not going to bitch that they’ve split venues between the Arclight (which has served as the festival’s one-stop-shopping center for better part of the past decade) and the Mann’s Chinese complex at Hollywood and Highland.
I’m going to try and update this on my phone during my festival downtime (wifi signal permitting) so check back for regular updates. Also I’ve included all the leftover pieces that came in the box at the bottom of the page in case anyone sees a title that they think I absolutely should make a point of seeing.
And now in the highly imitable style of Mike D’Angelo, I present.
AFI Fest October 30 – November 9
_______________________________________________________________________________
Friday October 31
Deadgirl (Marcel Sarmiento & Gadi Harel, USA): C- The appeal here is largely built around how gapingly offensive the premise is, when in actuality this is less morally appalling than it is inept at every level. Essentially this is River’s Edge reconceived as a zombie movie, with our loner protagonists inviting all their male friends to come sexually violate a re-animated corpse strapped to a gurney inside an abandoned asylum. But Sarmiento & Harel never land on the right tone, creating a situation that’s toxic to begin with (the two leads seem to have modeled their performances after 1950’s greasers film with a little Dylan & Eric thrown in for flavor) and descending from there, never fully selling its own premise from a situational or character standpoint. As a treatise on sexual politics it lags behind even this past winter’s forgettable Teeth and while it tows the line of Cronenbergian body violation, it ultimately lacks the conviction (or perhaps the special effects budget) to really go where sick young men’s minds will take things.
Saturday Nov 1
Revanche (Götz Spielmann, Austria): B+ Boy is this a hard film to qualify. From a strictly plot standpoint (and this most assuredly is not a film whose strength is derived from its plot) it’s essentially a Coen Brother’ special, with a get-rich scheme that’s destined to go horrifically and the aftermath of which can only lead to more bloodshed (I don’t speak German but even I can deduce what the title means). And the thing is, at no point will you be really surprised where the film arrives as everything is telegraphed by the 50-minute mark. No, the real intangible here is how fully lived in and emotionally sound every choice in the film is and how the consequences of every action taken are explored. In a perverse way it almost reminds me of Crash where we have a bunch of people bumping against one another through sheer contrivance but instead of knee-jerk histrionics and manufactured drama we have desperate people slowly coming to terms with the world they’ve created and their helplessness at escaping it. I’m really failing to convey the film’s loveliness but I take comfort that Mike D’Angelo more or less flailed about as well, although his enthusiasm for the film was enough to get me in the theater. If I can accomplish that as well then mission accomplished.
Wendy and Lucy (Kelly Reichardt, USA): B Another bullocks to the plot film, great. I wasn’t a fan of Reichardt’s Old Joy which was a little too minimalist for me. This at least has the benefit of external conflict even if it moves to the same aimless rhythms of the earlier film. Having familiarized myself with the premise going in, I was relieved to discover it’s not the exercise in miserablism I’d feared would be, in large part due to Michelle Williams defiantly pragmatic performance and an understated gem of a turn by stunt coordinator turned “where the hell did *he* come from?” character actor Wally Dalton as a sympathetic security guard. It’s also worth noting that as a lifelong dog owner there’s probably no way I wasn’t going to tear up at that ending but that shouldn’t take anything away from the long slow build that earns the moment.
Che (Steven Soderbergh, France/Spain): B
Sunday Nov 2
The Class (Laurent Cantet, France): A
Hunger (Steve McQueen, UK): B
Monday Nov 3
Time Crimes (Nacho Vigalondo, Spain): C+
Tuesday Nov 4
I didn't end up seeing anything. Mid-fest break required as the night's would get much longer and booze-fueled from here on out.
Wednesday Nov 5
Before the Fall (F Javier Gutiérrez, Spain): C-
Thursday Nov 6
Idiots and Angels (Bill Plympton, USA): B-
Two Lovers (James Gray, USA): A
The Wrestler (Darren Aronofsky, USA): B
Friday Nov 7
Sugar (Anna Boden & Ryan Fleck, USA): B+
Waltz With Bashir (Ari Folman, Israel/France/Germany): C-
Afterschool (Antonio Campos, USA): D+ This once announces itself early and often: a theme spending 2 hours in search of a film. Essentially, in case you didn’t know, a generation raised on internet porn and Al Quaeda beheading videos is likely to grow up disaffected and emotionally disconnected from genuine human experience becoming little glass-eyed monsters who regard the death of a couple classmates with the same level of muted interest as hallways slap fight or a viral video of a kitty playing the piano. Campos, who at 24 is bold enough to create a film around this idea, complete with Youtube-ready off-center compositions while at the same time is just immature enough to not realize he’s shot his load in the first 10 minutes and proceeds to beat the same drum with little variance. The film’s payoff is so poorly telegraphed I simply assumed it was accepted fact only to be confronted with shock-cut flashbacks in the closing moments. The film has its fans (or rather one very vocal one) but frankly I’d be amazed if it ever escapes the festival circuit.
Saturday Nov 8
Playing Columbine (Danny Ledonne, USA): C+ The missing element here is critical distance. The title of the film refers to the low-tech computer game Super Columbine Massacre RPG! that was released onto the net a few years ago, serving to comment upon (or exploit depending upon your politics) the 1999 school shooting and the ensuing controversy that predictably followed it. Ledonne chronicles the firestorm of victims rights advocates and media pundits that attacked the game for turning tragedy into entertainment (we see brief glimpses of the game where, for example, you receive certain point values for shooting “Preppy Girl” or lighting propane tanks on fire) as well as the weak-willed gaming establishment that buckled to pressure to bury the game and yank it from media arts conventions. Of even more interest, the film draws the corollary between the game and other “too soon” works such as United 93 and games about the Catholic Church scandals and Darfur, making the case that experiencing these events in a first-person, user-controlled medium is a perfectly acceptable form of processing grief. So what’s the problem? Ledonne also happens to be the creator of the game itself, meaning the film often undermines its own point in failing to truly hold its subject’s feet to the fire regarding his motives. The ratio of subjects who praise Ledonne versus those who indict him is about 5 to 1, meaning the film essentially serves as a self-generated pat on the back to its filmmaker. We’re constantly aware of the artist’s motives and as such everything about the film is rendered suspect.
Adam Resurrected (Paul Schrader, Germany/Israel/USA): C-
Sunday Nov 9
As predicted I hit a wall on the last day of the festival. Nothing left scheduled that day appealed to me and the tickets to the world premiere of Defiance that had been promised to me were withheld until the last possible moment, making it impossible for me to attend. I also flaked out on a screening of Milk that I'm now regretting. Such is life...
Not Getting to This Time Around
24 City
3 Women
Achilles and the Tortoise
Acne
Agile, Mobile, Hostile: A Year with Andre Williams
Alone in Four Walls
Better Things
Birdsong
Blood Appears
A Boyfriend for My Wife
The Chaser
Chouga
Defiance^
The Desert Within
Dim Sum Funeral
Divizionz
Everlasting Moments
Finally, Lillian and Dan
Food Fight
Gachi Boy Wrestling With a Memory
Gogol Bordello Non-Stop
A Good Day to be Black & Sexy
The Good, the Bad & the Weird
The Headless Woman
Hi My Name is Ryan
The Higher Force
I’m Gonna Explode
Imaginadores
Involuntary
The Juche Idea
Kassim the Dream
Kisses
Lake Tahoe
Last Chance Harvey^
The Last Days of Shishmaref
Lion’s Dean
Liverpool
Native Dancer
A Necessary Death
Niloofar
Nirvana
Not Quite Hollywood
Of All the Things
O’Horten
Paradise
Patrik, Age 1.5
Perfect Life
Pindorama – The True Story of the Seven Dwarves
Poundcake
Prodigal Sons
Proper Eyes
A Quiet Little Marriage
La Rabia
The Rest of the Night
Shakespeare and Victor Hugo’s Intimacies
Skin
Slumdog Millionaire^@
Summer Hours
Three Blind Mice
Tokyo Sonata
Truth in 24
Tulpan
Two-Legged Horse
Until the Light Takes Us
Visioneers
Waiting for Sancho
Wellness
Witch Hunt@
The World We Want
World’s Apart
^ Gala
@ Already Seen
But this year I really have to take my hat off to the selection committee. In essence, they’ve created a year end Whitman’s Sampler, encapsulating the best titles from Sundance, Cannes, Toronto and NYFF giving those of us on the west coast a chance to catch up with many of the international titles journalists have been going nuts over for months. In fact, I’m so pleased about the job they’ve done cherry picking titles that I’m not going to bitch that they’ve split venues between the Arclight (which has served as the festival’s one-stop-shopping center for better part of the past decade) and the Mann’s Chinese complex at Hollywood and Highland.
I’m going to try and update this on my phone during my festival downtime (wifi signal permitting) so check back for regular updates. Also I’ve included all the leftover pieces that came in the box at the bottom of the page in case anyone sees a title that they think I absolutely should make a point of seeing.
And now in the highly imitable style of Mike D’Angelo, I present.
AFI Fest October 30 – November 9
_______________________________________________________________________________
Friday October 31
Deadgirl (Marcel Sarmiento & Gadi Harel, USA): C- The appeal here is largely built around how gapingly offensive the premise is, when in actuality this is less morally appalling than it is inept at every level. Essentially this is River’s Edge reconceived as a zombie movie, with our loner protagonists inviting all their male friends to come sexually violate a re-animated corpse strapped to a gurney inside an abandoned asylum. But Sarmiento & Harel never land on the right tone, creating a situation that’s toxic to begin with (the two leads seem to have modeled their performances after 1950’s greasers film with a little Dylan & Eric thrown in for flavor) and descending from there, never fully selling its own premise from a situational or character standpoint. As a treatise on sexual politics it lags behind even this past winter’s forgettable Teeth and while it tows the line of Cronenbergian body violation, it ultimately lacks the conviction (or perhaps the special effects budget) to really go where sick young men’s minds will take things.
Saturday Nov 1
Revanche (Götz Spielmann, Austria): B+ Boy is this a hard film to qualify. From a strictly plot standpoint (and this most assuredly is not a film whose strength is derived from its plot) it’s essentially a Coen Brother’ special, with a get-rich scheme that’s destined to go horrifically and the aftermath of which can only lead to more bloodshed (I don’t speak German but even I can deduce what the title means). And the thing is, at no point will you be really surprised where the film arrives as everything is telegraphed by the 50-minute mark. No, the real intangible here is how fully lived in and emotionally sound every choice in the film is and how the consequences of every action taken are explored. In a perverse way it almost reminds me of Crash where we have a bunch of people bumping against one another through sheer contrivance but instead of knee-jerk histrionics and manufactured drama we have desperate people slowly coming to terms with the world they’ve created and their helplessness at escaping it. I’m really failing to convey the film’s loveliness but I take comfort that Mike D’Angelo more or less flailed about as well, although his enthusiasm for the film was enough to get me in the theater. If I can accomplish that as well then mission accomplished.
Wendy and Lucy (Kelly Reichardt, USA): B Another bullocks to the plot film, great. I wasn’t a fan of Reichardt’s Old Joy which was a little too minimalist for me. This at least has the benefit of external conflict even if it moves to the same aimless rhythms of the earlier film. Having familiarized myself with the premise going in, I was relieved to discover it’s not the exercise in miserablism I’d feared would be, in large part due to Michelle Williams defiantly pragmatic performance and an understated gem of a turn by stunt coordinator turned “where the hell did *he* come from?” character actor Wally Dalton as a sympathetic security guard. It’s also worth noting that as a lifelong dog owner there’s probably no way I wasn’t going to tear up at that ending but that shouldn’t take anything away from the long slow build that earns the moment.
Che (Steven Soderbergh, France/Spain): B
Sunday Nov 2
The Class (Laurent Cantet, France): A
Hunger (Steve McQueen, UK): B
Monday Nov 3
Time Crimes (Nacho Vigalondo, Spain): C+
Tuesday Nov 4
I didn't end up seeing anything. Mid-fest break required as the night's would get much longer and booze-fueled from here on out.
Wednesday Nov 5
Before the Fall (F Javier Gutiérrez, Spain): C-
Thursday Nov 6
Idiots and Angels (Bill Plympton, USA): B-
Two Lovers (James Gray, USA): A
The Wrestler (Darren Aronofsky, USA): B
Friday Nov 7
Sugar (Anna Boden & Ryan Fleck, USA): B+
Waltz With Bashir (Ari Folman, Israel/France/Germany): C-
Afterschool (Antonio Campos, USA): D+ This once announces itself early and often: a theme spending 2 hours in search of a film. Essentially, in case you didn’t know, a generation raised on internet porn and Al Quaeda beheading videos is likely to grow up disaffected and emotionally disconnected from genuine human experience becoming little glass-eyed monsters who regard the death of a couple classmates with the same level of muted interest as hallways slap fight or a viral video of a kitty playing the piano. Campos, who at 24 is bold enough to create a film around this idea, complete with Youtube-ready off-center compositions while at the same time is just immature enough to not realize he’s shot his load in the first 10 minutes and proceeds to beat the same drum with little variance. The film’s payoff is so poorly telegraphed I simply assumed it was accepted fact only to be confronted with shock-cut flashbacks in the closing moments. The film has its fans (or rather one very vocal one) but frankly I’d be amazed if it ever escapes the festival circuit.
Saturday Nov 8
Playing Columbine (Danny Ledonne, USA): C+ The missing element here is critical distance. The title of the film refers to the low-tech computer game Super Columbine Massacre RPG! that was released onto the net a few years ago, serving to comment upon (or exploit depending upon your politics) the 1999 school shooting and the ensuing controversy that predictably followed it. Ledonne chronicles the firestorm of victims rights advocates and media pundits that attacked the game for turning tragedy into entertainment (we see brief glimpses of the game where, for example, you receive certain point values for shooting “Preppy Girl” or lighting propane tanks on fire) as well as the weak-willed gaming establishment that buckled to pressure to bury the game and yank it from media arts conventions. Of even more interest, the film draws the corollary between the game and other “too soon” works such as United 93 and games about the Catholic Church scandals and Darfur, making the case that experiencing these events in a first-person, user-controlled medium is a perfectly acceptable form of processing grief. So what’s the problem? Ledonne also happens to be the creator of the game itself, meaning the film often undermines its own point in failing to truly hold its subject’s feet to the fire regarding his motives. The ratio of subjects who praise Ledonne versus those who indict him is about 5 to 1, meaning the film essentially serves as a self-generated pat on the back to its filmmaker. We’re constantly aware of the artist’s motives and as such everything about the film is rendered suspect.
Adam Resurrected (Paul Schrader, Germany/Israel/USA): C-
Sunday Nov 9
As predicted I hit a wall on the last day of the festival. Nothing left scheduled that day appealed to me and the tickets to the world premiere of Defiance that had been promised to me were withheld until the last possible moment, making it impossible for me to attend. I also flaked out on a screening of Milk that I'm now regretting. Such is life...
Not Getting to This Time Around
24 City
3 Women
Achilles and the Tortoise
Acne
Agile, Mobile, Hostile: A Year with Andre Williams
Alone in Four Walls
Better Things
Birdsong
Blood Appears
A Boyfriend for My Wife
The Chaser
Chouga
Defiance^
The Desert Within
Dim Sum Funeral
Divizionz
Everlasting Moments
Finally, Lillian and Dan
Food Fight
Gachi Boy Wrestling With a Memory
Gogol Bordello Non-Stop
A Good Day to be Black & Sexy
The Good, the Bad & the Weird
The Headless Woman
Hi My Name is Ryan
The Higher Force
I’m Gonna Explode
Imaginadores
Involuntary
The Juche Idea
Kassim the Dream
Kisses
Lake Tahoe
Last Chance Harvey^
The Last Days of Shishmaref
Lion’s Dean
Liverpool
Native Dancer
A Necessary Death
Niloofar
Nirvana
Not Quite Hollywood
Of All the Things
O’Horten
Paradise
Patrik, Age 1.5
Perfect Life
Pindorama – The True Story of the Seven Dwarves
Poundcake
Prodigal Sons
Proper Eyes
A Quiet Little Marriage
La Rabia
The Rest of the Night
Shakespeare and Victor Hugo’s Intimacies
Skin
Slumdog Millionaire^@
Summer Hours
Three Blind Mice
Tokyo Sonata
Truth in 24
Tulpan
Two-Legged Horse
Until the Light Takes Us
Visioneers
Waiting for Sancho
Wellness
Witch Hunt@
The World We Want
World’s Apart
^ Gala
@ Already Seen
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