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- ALL HAT Leonard Farlinger, Canada
- AMERICAN VENUS Bruce Sweeney, Canada
- AND ALONG COME TOURISTS Robert Thalheim, Germany
- AVANT QUE J’OUBLIE Jacques Nolot, France
- THE BAND’S VISIT Eran Kolirin, Israel/France
- THE BANISHMENT AndreI Zviaguintsev, Russia
- BARCELONA (A MAP) Ventura Pons, Spain
- BATTLE FOR HADITHA Nick Broomfield, UK
- BREAKFAST WITH SCOT Laurie Lynd, Canada
- BRICK LANE Sarah Gavron, UK
- CALIFORNIA DREAMIN’ (ENDLESS) Cristian Nemescu, Romania
- CARAMEL Nadine Labaki, Lebanon/France
- CHOP SHOP Ramin Bahrani, USA
- CONTRE TOUTE ESPÉRANCE Bernard Émond, Canada
- THE COUNTERFEITERS Stefan Ruzowitzky, Austria/Germany
- DANS LA VIE Philippe Faucon, France
- DAYS AND CLOUDS Silvio Soldini, Italy/Switzerland
- THE EDGE OF HEAVEN Fatih Akin, Germany/Turkey
- EMPTIES Jan Sverák, Czech Republic
- L’ENNEMI INTIME Florent Siri, France
- ERIK NIETZSCHE THE EARLY YEARS Jacob Thuesen, Denmark
- FARO – LA REINE DES EAUX Salif Traoré, Mali/France/Canada/Germany/Burkina Faso
- FOREVER NEVER ANYWHERE Antonin Svoboda, Austria
- GARAGE Lenny Abrahamson, Ireland
- A GENTLE BREEZE IN THE VILLAGE Nobuhiro Yamashita, Japan
- GONE WITH THE WOMAN Petter Næss, Norway
- HAPPINESS Hur Jin-ho, South Korea
- HAPPY NEW LIFE Árpád Bogdán, Hungary
- HOME SONG STORIES Tony Ayres, Australia
- IN MEMORY OF MYSELF Saverio Costanzo, Italy
- ISKA’S JOURNEY Csaba Bollók, Hungary
- JAR CITY Baltasar Kormákur, Iceland/Germany
- JELLYFISH Etgar Keret and Shira Geffen, Israel/France
- JUST LIKE HOME Lone Scherfig, Denmark
- KING OF CALIFORNIA Mike Cahill, USA
- KINGS Tom Collins, Ireland/UK
- THE MOURNING FOREST Naomi Kawase, Japan/France
- MUNYURANGABO Lee Isaac Chung, USA
- MUTUM Sandra Kogut, Brazil/France
- MY BROTHER IS AN ONLY CHILD Daniele Luchetti, Italy/France
- NEW YORK CITY SERENADE Frank Whaley, USA
- NORMAL Carl Bessai, Canada
- NOS VIES PRIVÉES Denis Côté, Canada
- ON THE WINGS OF DREAMS Golam Rabbany Biplob, Bangladesh
- L’ORA DI PUNTA Vincenzo Marra, Italy
- PHILIPPINE SCIENCE Auraeus Solito, Philippines
- THE POPE’S TOILET Enrique Fernandes and César Charlone, Uruguay
- RUN, FAT BOY, RUN David Schwimmer, UK
- THE SECRETS Avi Nesher, Israel/France
- SECRET SUNSHINE Chang-dong Lee, South Korea
- SLINGSHOT Brillante Mendoza, Philippines
- SON OF RAMBOW Garth Jennings, France/UK
- STARTING OUT IN THE EVENING Andrew Wagner, USA
- THE STONE ANGEL Kari Skogland, Canada
- TO LOVE SOMEONE Åke Sandgren, Sweden
- THE TRAP Srdan Golubovic, Serbia/Germany/Hungary
- UNDER THE SAME MOON Patricia Riggen, Mexico/USA
- UNFINISHED SKY Peter Duncan, Australia
- UNFINISHED STORIES Pourya Azarbayjani, Iran
- UNE VIEILLE MAÎTRESSE Catherine Breillat, France
- WEIRDSVILLE Allan Moyle, Canada
- WOLFSBERGEN Nanouk Leopold, Netherlands
11 comments:
In the summer issue of Cinema Scope Mark Peranson interviews Lee Chang-dong about Secret Sunshine. The interview isn't available online, but it's piqued my interest in the film.
Lee: "In the movie I wanted to talk about the things that are visible to the eye. So things like religion, faith, God, they are not visible to the eye, so I did not want to pretend that I could even talk about them. But I did want people to think about these things, though only by showing things that exist."
My knee started jerking when I saw that an American-made film about Rwanda had been programmed in CWC, but Robert Koehler's raver in Variety had bumped Munyurangabo onto my must-see list:
"Like a bolt out of the blue, Korean American filmmaker Lee Isaac Chung achieves an astonishing and thoroughly masterful debut with "Munyurangabo," which is -- by several light years -- the finest and truest film yet on the moral and emotional repercussions of the 15-year-old genocide that wracked Rwanda. Pic's supremely confident, simple storytelling and relaxed, slightly impressionist visual style follow a conflict that emerges between two friends as one makes a long-delayed homecoming. This is, flat-out, the discovery of this year's Un Certain Regard batch. . . . Free of any mannerism or displays of bravura, the filmmaking is strongly informed with a sense of poetry, cinematic sophistication and a desire to allow scenes to play out fully, but no longer than they must."
Alas, I won't be there this year. But I'm very eager to see Zviaguintsev's latest.
The Return is another of those films I should probably catch up with before September. With all of the comparisons to Tarkovsky, I'm not sure why I've put off seeing it. Reviews of The Banishment have been mixed, but I'm still curious about it.
Dan Sallitt left this comment over on another post:
I saw In Memory of Me at the Walter Reade in NYC. I didn't enjoy it much, though lots of people did. I quote myself: "In Memory of Me was very much in Bresson's shadow - it felt like A Man Escaped with hints of Escape from Alcatraz! - but I didn't enjoy it. It's a classic case of a filmmaker unwilling to go to the interior place that his material demands, and so inadvertently turning his movie into a plodding pseudo-noir about monks spying on each other and not learning anything interesting...."
Clearly this site is going to become indispensible in helping me graph out what to see. Already, I'm equally excited about Munyurangabo, not only because of Kohler's rave review but because the subject has been of continuing interest to me. I've written up a couple of entries at The Evening Class; one a general intro on the films to date (at that time), a follow-up focus on Shooting Dogs, and a transcription of a lecture given by Paul Rusesabagina (subject of Hotel Rwanda). So you can imagine how excited I am to see this project. Thanks for alerting me to same!
FYI, my review of The Mourning Forest. I'm glad I saw this at the start of the Melbourne International Film Festival. It's a quiet film, and as I saw a number of contemplative films over the festival, I started getting bored with them after a while. My advice, see this early if you're seeing several arty films.
Caught The Counterfeiters yesterday. Just when you think there is no further history to know about the Nazi concentration camps, here comes this study on the ethics of survival. Survivors guilt is a topic difficult to relate to, and yet well-done here.
Like myself, Todd Brown is catching pre-Toronto screenings. Here's his Twitch review of Jar City.
Surprised that Run Fatboy Run made it onto the TIFF "Contemporary World Cinema" line-up, Todd Brown at Twitch nonetheless offers up good will, the official website, trailer, and TIFF program capsule.
Amazing work I am a big fan of your work.
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