The Imitation Game – Cathedrals of Culture – Dear White People – Concrete Night – Free Fall – Force Majeure – The Iron Ministry

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Chicago Film Festival 2014
Main Competition Jury: Kathleen Turner (president), Giora Bejach, Ferzan Ozpetek, Parviz Shahbazi, Margarethe von Trotta

AwardsFeatures LogShorts LogOutLook SectionCompetition Lineups


Gold Hugo of the Festival:The President, Georgia, dir. Mohsen Makhmalbaf
Silver Hugo:Refugiado, Argentina, dir. Diego Lerman
Best Director:Timbuktu, Mauritania, Abderrahmane Sissako
Best Actress:Sand Dollars, Geraldine Chaplin
Best Actor:Rudderless, Anton Yelchin
Best Screenplay:Gett: The Trial of Viviane Amsalem, Ronit and Shlomi Elkabetz
Best Cinematography:1001 Grams, John Christian Rosenlund
Best Art Direction:Human Capital, Mauro Radaelli
Best Costume Design:Speed Walking, Pia Myrdal and Anne-Dorthe Eskildsen
Special Prize for Originality:The Owners, Kazakhstan, dir. Adilkhan Yerzhanov
 
DocuFest Gold Hugo*:
 
Echo of the Mountain, Mexico, dir. Nicolas Echevarría
 
New Directors Gold Hugo*:
 
Underdog, Sweden/Norway, dir. Ronnie Sandahl
New Directors Silver Hugo*:Next to Her, Israel, dir. Asaf Korman
 
Q Hugo Award*:
 
Xenia, Greece, dir. Panos H. Koutras
Q Hugo Silver Hugo*:Something Must Break, Sweden, dir. Ester Martin Bergsmark
 
Founder's Award:
 
Birdman (or The Unexpected Virtue of Ignorance), Michael Keaton
Chicago Award:The Alley Cat, USA, dir. Marie Ullrich
Roger Ebert Award:La Tirisia, Mexico, dir. Jorge Pérez Solano
Audience Choice Award (Narrative)**:The Imitation Game, UK, dir. Morten Tyldum
Audience Choice Award (International)**:The 100-Year-Old Man Who Climbed Out the Window and Disappeared, Sweden, dir. Felix Herngren
Audience Choice Award (DocuFest)**:Red Army, USA, dir. Gabe Polsky
 
* These awards are determined by separately constituted juries
** Voted by the public, and announced later than the other awards


Features I Saw at CIFF:
Includes some films I saw previously in
Toronto
Ranked in order of preference
 
My Golden Hugo
National Gallery A– (Docufest; USA, dir. Frederick Wiseman) - Less admin than you'd expect; squarer focus on arts and detailed labors of many kinds. Such edits! Exhilarating.

The Look of Silence A– (Docufest/Spotlight Scandinavia; Denmark/Indonesia, dir. Joshua Oppenheimer) - Confounds expectations less than The Act of Killing, but manifests equal if quieter audacity. Heroic.

The President A– (Main Competition; Georgia, dir. Mohsen Makhmalbaf) - Makhmalbaf as I've rarely met him, in bumptious tragicomic picaresque. Funny, brutal. Great lead. Winner?

Timbuktu B+ (Main Competition/Black Perspectives; Mauritania/France, dir. Abderrahmane Sissako) - Eloquent, somber, and visually gripping. Opens out Sissako's style for wider consumption without yielding a simple film.

It Follows B+ (After Dark; USA, dir. David Robert Mitchell) - Seat-gripping horror that swiftly sets out tricky conceit; sustains it well, with welcome humor and mystery. Ace score.

Black Coal, Thin Ice B+ (Main Competition; China, dir. Diao Yinan) - A noir both classic and eccentric. A knife set in jewel tones. A dark poem on the Chinese circulatory system.

The Princess of France B+ (Cinema of the Americas/World Cinema; Argentina, dir. Matías Piñeiro) - Yet again, like seeing an intricate cut-paper playhouse pop up between two leaves of a thick scholarly book.

The Iron Ministry B+ (Docufest; China/USA, dir. J.P. Sniadecki) - Gorgeous doc, shot entirely on passenger trains, offers metonymic portrait of modern middle-class China.

The Babadook B+ (After Dark/ReelWomen; Australia, dir. Jennifer Kent) - With this around, who needs to talk about Kevin? Powerful, unsubtle scares. Peculiar, frazzled energy. Essie!

Winter Sleep B+ (World Cinema; Turkey, dir. Nuri Bilge Ceylan) - Patient, tonally complex dialogues reveal character but avoid histrionics. Images more beautiful than interesting.

Two Days, One Night B+ (World Cinema; Belgium, dirs. Jean-Pierre Dardenne and Luc Dardenne) - Frank tale of communal solidarity in precarious times; equally evocative as depression study, marital profile.

Of Horses and Men B+ (Spotlight Scandinavia/World Cinema; Iceland/Norway/Germany, dir. Benedikt Erlingsson) - Wild Tales, Nordic division, but minus state-of-the-nation overtones. Equine elegance meets human folly.

Something Must Break B+ (Spotlight Scandinavia/OutLook/World Cinema; Sweden, dir. Ester Martin Bergsmark) - Excitingly contemporary in binary-busting genders and desires. Gutsy style. Acute sense of character.

Evolution of a Criminal B+ (Docufest/Black Perspectives; USA, dir. Darius Clarke Monroe) - Man jailed as a teen for robbery tells his and his family's story, with acuity, emotion, impressive craft.

Force Majeure B (Main Competition; Sweden, dir. Ruben Östlund) - Great start excuses diminishing returns over time. Ístlund reluctant to cede spotlight to his own characters?

Stations of the Cross B (World Cinema; Germany, dir. Dietrich Brüggemann) - Modern martyr tale, austere in style, sober in theme, but subtly elastic in tone. Few huge surprises.

Refugiado B (Main Competition/Cinema of the Americas; Argentina, dir. Diego Lerman) - Smart, nerve-wracking study of wages of fear wrought by domestic violence. May not advance the form, but compels.

Free Fall B (Main Competition; Hungary, dir. György Pálfi) - Deliberately garish garden of surrealist conceits, unevenly elaborated and finessed. Fallow areas, but best stuff blooms.

Futuro Beach B (Cinema of the Americas/OutLook/World Cinema; Brazil/Germany, dir. Karim Aïnouz) - Never tops stylistic audacity of opening sequence, but there's much to relish in images, sounds, and emotions.

The Fool B (Main Competition; Russia, dir. Yuri Bykov) - Russian political corruption as a towering inferno? Prosaic tendencies. Untouched by feminism. But meaty argument.

Corn Island B (World Cinema; Georgia, dir. George Ovashvili) - Grandfather, young girl near-wordlessly subsist on tiny mid-river atoll. Impressive throughout. Deepest at end.

Life Itself B (Special Presentations; USA, dir. Steve James) - Couldn't call it daring in form, but very satisfying portrait. Like Ebert, plainspoken, not simple. Generous, not soft.

Sand Dollars B (Main Competition/Cinema of the Americas/OutLook/ReelWomen; Dominican Republic, dirs. Laura Amelia Guzmán & Israel Cárdenas) - Not every story point scans; film might delve deeper into its characters. But manages to be vital and nuanced.

La Tirisia B (New Directors Competition/Cinema of the Americas; Mexico, dir. Jorge Pérez Solano) - Drama of rural Mexican women in tight spots. Heavy tone; title means "Perpetual Sadness." Well acted and shot.

The Third One B (OutLook/World Cinema; Argentina, dir. Rodrigo Guerrero) - Without being prudish, manages to see more than sex in an encounter between middle-aged guys and young twink.

Nabat B (World Cinema; Azerbaijan, dir. Elcin Musaoglu Guliyev) - Vaguer on heroine's POV than you'd think, with so few folks in the film. But pained, poetic study pays other rewards.

Red Rose B (Main Competition/ReelWomen; Iran/France, dir. Sepideh Farsi) - Rich, surprisingly sexual drama of Iran's 2009 Green protests explores seductive pulls of both revolution and complacency.

Next to Her B (New Directors Competition; Israel, dir. Asaf Korman) - Autobiographical legacies palpable in the details, but film isn't insular. Sensitive yet tough on sisterly tie.

The Way He Looks B (Cinema of the Americas/OutLook/World Cinema; Brazil, dir. Daniel Ribeiro) - Invites "modest" and "sweet" as dignified critical terms. Fulfills appealing formula, with winning tweaks.

A Few Cubic Meters of Love B (World Cinema; Afghanistan, dir. Jamshid Mahmoudi) - Overdetermined plot; spaces not clearly laid out. Better at evoking milieu, intense emotion.

Into the Clouds We Gaze B (Docufest; Czech Republic, dir. Martin Dušek) - Documentary about Czech car enthusiasts seems niche and mundane at first but exerts stealthy power.

This Afternoon B (New Directors Competition/City & State; USA, dir. Stephen Cone) - Opening scene inspired it but felt shaky to me? Tale gets richer; smart turns, new layers. Pierce excels.

Dear White People B– (Black Perspectives; USA, dir. Justin Simien) - Unlike many comedies, has a worthy, tricky subject. Anarchic to a fault, but stokes debate, lands jokes.

Why Be Good? B– (50th Anniversary; USA, dir. William A. Seiter) - Not sure I witnessed brilliance here, but what a treat to see an amiable silent lark so gloriously restored.

The Word B– (Main Competition/ReelWomen; Poland/Denmark, dir. Anna Kazejak-Dawid) - Scorned-teen suspenser paints richer portrait of feminine malice than Gone Girl, but it builds less than I'd hoped.

Concrete Night B– (ReelWomen/Spotlight Scandinavia/World Cinema; Finland, dir. Pirjo Honkasalo) - Finnish Oscar play is good brother/bad brother drama shot in such stylized b&w it's practically Sin City.

Rudderless B– (Main Competition; USA, dir. William H. Macy) - Can a song redeem a life? Schematic, sentimental. Almost undone by midfilm reveal. But Crudup, music compel.

Goal of the Dead B– (After Dark/Make 'Em Laugh; France, dirs. Benjamin Rocher & Thierry Poiraud) - Could you tell if soccer die-hards turned into furious zombies? Long, uneven, but entertaining enough.

Clouds of Sils Maria C+ (World Cinema; France, dir. Olivier Assayas) - Directed with Assayas' usual lightness but script underscores concepts that feel plenty clear. Disappointing.

Xenia C+ (OutLook/World Cinema; Greece, dir. Panos H. Koutras) - Loose-leaf notebook of queer kitsch ideas. Stabs at allegory. Unconvincing, low-level fun; takes intermittent risks.

The Circle C+ (Docufest/OutLook; Switzerland, dir. Stefan Haupt) - Social-subcultural history is even more gripping than romance. Neither feels fully fleshed out; some awkward execution.

Joy of Man's Desiring C+ (Docufest; Canada, dir. Denis Côté) - Côté's lingering on human and machinic labor power never yields a full idea or clear perspective.

Wild C (Closing Night; USA, dir. Jean-Marc Vallée) - Never fully inhabits Cheryl's headspace, despite obvious tries, or posits viable links between externals and characterization.

Miss Julie C (Opening Night; Norway/Ireland, dir. Liv Ullmann) - Still looks over-strategized to me; winds up feeling rigid, long. But many fascinating moments. Chastain really builds.

Gett: The Trial of Viviane Amsalem C (Main Competition; Israel, dirs. Ronit Elkabetz and Shlomi Elkabetz) - Even most intriguing ironies are badly encumbered by stultifying images and repetitive scenario.

The Imitation Game C (Special Presentations/OutLook; UK, dir. Morten Tyldum) - Involving if opaque in code-cracking scenes. Craven handling of sexuality. Pedestrian biopic strategies.

The Well C (After Dark; USA, dir. Tom Hammock) - Honorable try; less self-serious than The Rover. But striking images and sounds outnumbered by clichés, questions.

Speed Walking C (Main Competition/OutLook; Denmark, dir. Niels Arden Oplev) - Poignant treatment of grief and coming-of-age, but style, story feel amorphous. Some real lapses in judgment.

A Girl at My Door C (New Directors Competition/OutLook/Reel Women; South Korea, dir. July Jung) - Crude plotting and acting corrode promising lesbian-antihero potential. Unsteady takes on its characters.

Land of Storms C– (OutLook/World Cinema; Hungary/Germany, dir. Ádám Császi) - Core feelings exert some claim but too often film lapses into cliché or contrives turn-ons and plot points.

The Alley Cat C– (City & State/ReelWomen/World Cinema; USA, dir. Marie Ullrich) - I enjoy hour-long mini-features but this one felt both overstretched and underdeveloped. Shaky acting, too.

Black Panther: The Story of Emilie and Jacob D+ (World Cinema; Germany/Switzerland, dir. Samuel Perriard) - Incest in search of a frame story? When your 79-minute movie feels padded...

Summer D (OutLook/ReelWomen/World Cinema; The Netherlands, dir. Colette Bothof) - Serial miscalculations, starting with copious and banal voiceover in the prologue. Artistically flat. Weird on race.

Cru D (Black Perspectives/World Cinema; USA, dir. Alton Glass) - Unfolds as a Joy Luck Club for African American guys. Worthy intent. Actors try. Still, manifestly limited technique.



Shorts I Saw at CIFF:
Ranked in order of preference
 
Fully Curated Programs
Shorts 1: City & State A– (Miscellaneous) - As impressive as they are eclectic, in aesthetics and in how they showcase Chicago and its artists.

Shorts 3: Midnight Mayhem B (Miscellaneous) - Peaks: surreal lab story Monkey Love Experiments and Elina Löwensohn's creepy-woozy Prehistoric Cabaret.

Individual Standouts
Monkey Love Experiments (Midnight Mayhem; Scotland, Ainslie Henderson & Will Anderson) - Chimp is seemingly primed for cosmos in a brilliantly animated, beautifully idiosyncratic space-race pastiche. (official site)

Parietal Guidance (City & State; USA, dir. Lonnie Edwards) - Prismatic combo of a coming-of-age sketch, an angry civic meditation, and a humanist embrace of "bad neighborhoods." (watch the trailer)

Prehistoric Cabaret (Midnight Mayhem; Iceland/France, dir. Bertrand Mandico) - Half Björk video, half Cremaster outtake, all absinthean intoxicant as Elina Löwensohn leads tour inside her body. (watch the trailer)

Baby Mary (City & State; USA, dir. Kris Swanberg) - A misguided abduction becomes a disarmingly tender gesture, without dispelling the film's aura of sorrow and missed chances. (read a review)

Amazon (Spotlight Scandinavia; Norway, dir. Marianne Ulrichsen) - Two girls compete with, terrorize, and halfway seduce each other in richly lensed, eerily edited, Lynne Ramsay-ish short. (view the teaser)

Lucy (City & State; USA, dir. Zoe Lubeck) - Perhaps not so hard to endear us to a cartoon girl who loves her puppy, but this is expertly, cleverly drawn. Lovely culmination. (watch the film)

Bear (Midnight Mayhem; Norway, dir. Bård Ivar Engelsås) - Solitary survivor in wintry post-apocalypse forms a close bond with abandoned teddy bear that eventually signals another reality. (official site)

The Muck (City & State; USA, dir. Tony Wash) - Title is best joke in ironically comic riff on Shivers-style horror, where aerobics enthusiast takes a bath she won't forget. (official site)

Speed Dating (City & State; USA, dir. Meghann Artes) - Animation and live action wittily, uneasily court each other in this warm, inspired take-off on played-out rom-com trope. (filmmaker page)

Portrait (Midnight Mayhem; Italy, dir. "Milkeyes," aka Donato Sansone) - Three minutes is the right scale for these grotesquely deconstructed, Francis Bacon-style close-ups to get under your skin. (watch the film)

Frame Walk (City & State; South Korea/USA, dir. Jeon Ha-young) - Abrasive soundtrack, fragmented aesthetic will anoy some viewers but I admired audiovisual dismantling of Chicago's "Bean." (view without sound)



Films I Saw for the Q Hugo/OutLook Jury:
Non-graded tweets I posted while the festival unfolded
Listed alphabetically
 
The Circle (Docufest/OutLook; Switzerland, dir. Stefan Haupt) - Can't review for jury reasons, but see it for semi-documentary sketch of 58-year bond that survived homophobic era.

Futuro Beach (Cinema of the Americas/OutLook/World Cinema; Brazil/Germany, dir. Karim Aïnouz) - Can't review for jury reasons, but see it for its heady mix of sensuality and sorrow, agitato and legato.

A Girl at My Door (New Directors Competition/OutLook/ReelWomen; South Korea, dir. July Jung) - Can't review for jury reasons, but see it because police dramas with lesbian antiheroes don't pass by often.

The Imitation Game (Special Presentations/OutLook; UK, dir. Morten Tyldum) - Can't review for jury reasons, dwv cfokv k hggn nguu enqug vq vjg rgqrng qh vqtqpvq vjcp k wuwcnna nkmg vq.

Land of Storms (OutLook/World Cinema; Hungary/Germany, dir. Ádám Czázsi) - Can't review for jury reasons, but if gay cinema equates for you to "shirt-challenged athletes," here you go.

Sand Dollars (Main Competition/Cinema of the Americas/OutLook/ReelWomen; Dominican Republic, dirs. Laura Amelia Guzmán & Israel Cárdenas) - Can't review for jury reasons, but see how it expands from Paradise: Lesbian to a rich engagement with two POVs.

Something Must Break (Spotlight Scandinavia/OutLook/World Cinema; Sweden, dir. Ester Martin Bergsmark) - Can't review for jury reasons, but see it for Swedish transgender spin on the Head-On style of amour fou.

Speed Walking (Main Competition/OutLook/Spotlight Scandinavia; Denmark, dir. Niels Arden Oplev) - Can't review for jury reasons, but see how it grows the Way He Looks trend of kid-focused, humanist LGBT dramas.

Summer (OutLook/ReelWomen/World Cinema; The Netherlands, dir. Colette Bothof) - Can't review for jury reasons, but see it if male comings-of-age in LGBT Competition have you pining for a girl's tale.

The Third One (OutLook/World Cinema; Argentina, dir. Rodrigo Guerrero) - Can't review for jury reasons, but see it for considerable steam and for revealing more ambitions as it unfolds.

The Way He Looks (Cinema of the Americas/OutLook/World Cinema; Brazil, dir. Daniel Ribeiro) - Can't review for jury reasons, but see it for rare, sweet depiction of gay teen whose life isn't miserable.

Xenia (OutLook/World Cinema; Greece, dir. Panos H. Koutras) - Can't review for jury reasons, but see The Odyssey, lollipops, singing competitions, and giant bunnies together at last.



Lineups in the Main Feature Programs:
Listed alphabetically within sections; more on this year's lineup at
the CIFF page (opens in a new window)
 
Main Competition:
Full list of entries
1001 Grams, Norway, dir. Bent Hamer
Black Coal, Thin Ice B+, China, dir. Diao Yinan
The Fool B, Russia, dir. Yuri Bykov
Force Majeure B, Sweden, dir. Ruben Östlund
Free Fall B, Hungary, dir. György Pálfi
Gett: The Trial of Viviane Amsalem C, Israel, dirs. Ronit & Shlomi Elkabetz
Human Capital, Italy, dir. Paolo Virzi
The Owners, Kazakhstan, dir. Adilkhan Yerzhanov
The President A–, Georgia/France/UK/Germany, dir. Mohsen Makhmalbaf
Red Rose B, Iran/France, dir. Sepideh Farsi
Refugiado B, Argentina, dir. Diego Lerman
Rudderless, USA, dir. William H. Macy
Sand Dollars B, Dominican Republic, dirs. Laura Amelia Guzmán & Israel Cárdenas
Speed Walking C, Denmark, dir. Niels Arden Oplev
Timbuktu B+, Mauritania/France, dir. Abderrahmane Sissako
The Word B–, Poland/Denmark, dir. Anna Kazejak-Dawid
New Directors Competition:
Full list of entries
Ablations, France/Belgium, dir. Arnold de Parscau
The Boss, Anatomy of a Crime, Argentina/Venezuela, dir. Sebastián Schindel
El Cordero, Chile, dir. Juan Francisco Olea
The Evolution of Bert, USA, dir. Jeffrey Wray
A Girl at My Door C, South Korea, dir. July Jung
Next to Her B, Israel, dir. Asaf Korman
Paris of the North, Iceland/Denmark/France, dir. Hafsteinn Gunnar Sigurðsson
Pink Noise, Colombia, dir. Roberto Flores Prieto
Still, UK, dir. Simon Blake
Supernova, The Netherlands/Germany/Belgium, dir. Tamar van den Dop
This Afternoon B, USA, dir. Stephen Cone
La Tirisia B, Mexico, dir. Jorge Pérez Solano
Titli, India, dir. Kanu Behl
Underdog, Sweden/Norway, dir. Ronnie Sandahl
The World Is Mine, Romania, dir. Nicolae Constantin Tanase
Special Presentations:
Full list of entries
Birdman, or the Unexpected Virtue of Ignorance, USA, dir. Alejandro González Iñárritu
The Imitation Game C, UK, dir. Morten Tyldum
Life Itself B, USA, dir. Steve James
Low Down, USA, dir. Jeff Preiss
Spotlight Scandinavia:
Full list of entries
The 100-Year-Old Man Who Climbed Out the Window and Disappeared, Sweden, dir. Felix Herngren
1001 Grams, Norway, dir. Bent Hamer
Concrete Night B–, Finland, dir. Pirjo Honkasalo
Doctor Proctor's Fart Powder, Norway, dir. Arild Fröhlich
Force Majeure B, Sweden, dir. Ruben Östlund
In Order of Disappearance, Norway, dir. Hans Petter Moland
The Look of Silence A–, Denmark/Indonesia, dir. Joshua Oppenheimer
No Thank You, Finland, dir. Samuli Valkama
Of Horses and Men B+, Iceland/Norway/Germany, dir. Benedikt Erlingsson
Paris of the North, Iceland/Denmark/France, dir. Hafsteinn Gunnar Siguræsson
The Salvation, Denmark, dir. Kristian Levring
Something Must Break B+, Sweden, dir. Ester Martin Bergsmark
Speed Walking C, Denmark, dir. Niels Arden Oplev
Underdog, Sweden/Norway, dir. Ronnie Sandahl
Vive La France, Sweden/Iceland/Finland/Norway, dirs. Helgi Felixson & Titti Johnson
After Dark:
Full list of entries
† Out of competition

ABCs of Death 2, Misc., dirs. Rodney Ascher, et al.
Alleluia, France/Belgium, dir. Fabrice Du Welz
The Babadook B+, Australia, dir. Jennifer Kent
Creep, USA, dir. Patrick Brice
The Editor, Canada, dirs. Adam Brooks & Matthew Kennedy
Goal of the Dead B–, France, dir. Thierry Poiraud
High Five, Brazil/Uruguay, dir. Manuel Facal
It Follows B+, USA, dir. David Robert Mitchell
The Midnight After, Hong Kong, dir. Fruit Chan
The Well C, USA, dir. Tom Hammock
The World of Kanako, Japan, dir. Tetsuya Nakashima
Black Perspectives:
Full list of entries
August Winds, Brazil, dir. Gabriel Mascaro
Beyond the Lights, USA, dir. Gina Prince-Bythewood
Cru D, USA, dir. Alton Glass
Dear White People B–, USA, dir. Justin Simien
Evolution of a Criminal B+, USA, dir. Darius Clark Monroe
The Evolution of Bert, USA, dir. Jeffrey Wray
Timbuktu B+, Mauritania/France, dir. Abderrahmane Sissako
Cinema of the Americas:
Full list of entries
August Winds, Brazil, dir. Gabriel Mascaro
El Cordero, Chile, dir. Juan Francisco Olea
Dust on the Tongue, Colombia, dir. Rubén Mendoza
Echo of the Mountain, Mexico, dir. Nicolas Echevarría
Futuro Beach B, Brazil/Germany, dir. Karim Aïnouz
Gente de Bien, Colombia/France, dir. Franco Lolli
González, Mexico, dir. Christian Díaz Pardo
High Five, Brazil/Uruguay, dir. Manuel Facal
Hotel Nueva Isla, Cuba/Spain, dir. Irene Gutiérrez
Mr. Kaplan, Uruguay/Spain/Germany, dir. Álvaro Brechner
Pink Noise, Colombia, dir. Roberto Flores Prieto
The Princess of France B+, Argentina, dir. Matías Piñeiro
Refugiado B, Argentina, dir. Diego Lerman
La Tirisia B, Mexico, dir. Jorge Pérez Solano
The Way He Looks B, Brazil, dir. Daniel Ribeiro
City & State:
Full list of entries
Algren, USA, dir. Michael Caplan
The Alley Cat C–, USA, dir. Marie Ullrich
The Other One, USA, dir. Josef Steiff
This Afternoon B, USA, dir. Stephen Cone
Docufest (Competition):
Full list of entries
Algren, USA, dir. Michael Caplan
Echo of the Mountain, Mexico, dir. Nicolas Echevarría
El Gort, Tunisia, dir. Hamza Ouni
Hotel Nueva Isla, Cuba/Spain, dir. Irene Gutiérrez
Into the Clouds We Gaze B, Czech Republic, dir. Martin Dušek
The Iron Ministry B+, China/USA, dir. J.P. Sniadecki
I've Seen the Unicorn, Canada, dir. Vincent Toi
Vive La France, Sweden/Iceland/Finland/Norway, dirs. Helgi Felixson & Titti Johnson
Docufest (Out of Competition):
Full list of entries
The Circle C+, Switzerland, dir. Stefan Haupt
A Dream of Iron, South Korea, dir. Kelvin Kyung Kun Park
Evolution of a Criminal B+, USA, dir. Darius Clark Monroe
Joy of Man's Desiring C+, Canada, dir. Denis Côté
Life After Death, USA/Rwanda, dir. Joe Callander
The Look of Silence A–, Denmark/Indonesia, dir. Joshua Oppenheimer
Magician: The Astonishing Life and Work of Orson Welles, USA, dir. Chuck Workman
National Gallery A–, USA, dir. Frederick Wiseman
Ne Me Quitte Pas, Netherlands/Belgium, dirs. Sabine Lubbe Bakker & Niels van Koevorden
On Beauty, USA, dir. Joanna Rudnick
Red Army, USA/Russia, dir. Gabe Polsky
OutLook:
Full list of entries
The Circle C+, Switzerland, dir. Stefan Haupt
Futuro Beach B, Brazil/Germany, dir. Karim Aïnouz
A Girl at My Door C, South Korea, dir. July Jung
The Imitation Game C, UK, dir. Morten Tyldum
Land of Storms C–, Hungary/Germany, dir. Ádám Czázsi
Sand Dollars B, Dominican Republic, dirs. Laura Amelia Guzmán & Israel Cárdenas
Something Must Break B+, Sweden, dir. Ester Martin Bergsmark
Speed Walking C, Denmark, dir. Niels Arden Oplev
Summer D, The Netherlands, dir. Colette Bothof
The Third One B, Argentina, dir. Rodrigo Guerrero
The Way He Looks B, Brazil, dir. Daniel Ribeiro
Xenia C+, Greece, dir. Panos H. Koutras
ReelWomen:
Full list of entries
ABCs of Death 2, Misc., dirs. Rodney Ascher, et al.
The Alley Cat C–, USA, dir. Marie Ullrich
The Babadook B+, Australia, dir. Jennifer Kent
Concrete Night B–, Finland, dir. Pirjo Honkasalo
Fort Tilden, USA, dirs. Sarah-Violet Bliss & Charles Rogers
A Girl at My Door C, South Korea, dir. July Jung
Hotel Nueva Isla, Cuba/Spain, dir. Irene Gutiérrez
If You Don't, I Will, France, dir. Sophie Fillières
Maestro, France, dir. Lea Fazer
Ne Me Quitte Pas, Netherlands/Belgium, dirs. Sabine Lubbe Bakker & Niels van Koevorden
On Beauty, USA, dir. Joanna Rudnick
Red Rose B, Iran/France, dir. Sepideh Farsi
Sand Dollars B, Dominican Republic, dirs. Laura Amelia Guzmán & Israel Cárdenas
Summer D, The Netherlands, dir. Colette Bothof
Supernova, The Netherlands/Germany/Belgium, dir. Tamar van den Dop
Viktoria, Romania/Bulgaria, dir. Maya Vitkova
Vive La France, Sweden/Iceland/Finland/Norway, dirs. Helgi Felixson & Titti Johnson
The Word B, Poland/Denmark, dir. Anna Kazejak-Dawid
Words with Gods, Misc., dirs. Warwick Thornton, et al.
World Cinema:
Beyond films listed above
Ártico, Spain, dir. Gabriel Velázquez
Beloved Sisters, Germany/Austria, dir. Dominik Graf
Black Panther: The Story of Emilie and Jacob D+, Germany/Switzerland, dir. Samuel Perriard
Buzzard, USA, dir. Joel Potrykus
Camera, Hong Kong/Singapore, dir. James Leong
Clouds of Sils Maria C+, France/Switzerland/Germany, dir. Olivier Assayas
Corn Island B, Georgia, dir. George Ovashvili
Everything We Loved, New Zealand, dir. Max Currie
An Eye for Beauty, Canada, dir. Denys Arcand
Fair Play, Czech Republic, dir. Andrea Sedlácková
Fasten Your Seatbelts, Italy, dir. Ferzan Ozpetek
A Few Cubic Meters of Love B, Iran/Afghanistan, dir. Jamshid Mahmoudi
Foreign Body, Poland/Italy, dir. Krzysztof Zanussi
In Silence, Czech Republic/Slovakia, dir. Zdenek Jiráský
The Kindergarten Teacher, Israel/France, dir. Nadav Lapid
The Lamb, Turkey/Germany, dir. Kutlug Ataman
The Lesson, Latvia, dir. Andris Gauja
Marie's Story, France, dir. Jean-Pierre Améris
Nabat B, Azerbaijan, dir. Elcin Musaoglu Guliyev
The Piano Room, Macedonia, dir. Igor Ivanov
Seven Little Killers, Italy, dir. Matteo Andreolli
Stations of the Cross B, Germany, dir. Dietrich Brüggemann
Stockholm, Spain, dir. Rodrigo Sorogoyen
Superegos, Austria, dir. Benjamin Heisenberg
Tir, Italy, dir. Alberto Fasulo
Two Days, One Night B+, Belgium, dirs. Jean-Pierre & Luc Dardenne
We Love You, You Bastard, France, dir. Claude Lelouch
Winter Sleep B+, Turkey, dir. Nuri Bilge Ceylan
The Young Kieslowski, USA, dir. Kerem Sanga
Zurich, Germany, dir. Fredrik Steiner

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