THE DEEP BLUE SEA and #NDNF standout HEMEL punctuated my 6-movie weekend

I love this New Directors New Films festival happening now at MoMA and Film Society Lincoln Center!

On top of the two movies I caught yesterday, I was scheduled to go to one more today (HEMEL) which I was tempted to turn into two when I showed up impulsively for GIMME THE LOOT which I missed at SXSW.

Well, the darn thing was sold out, so I joined the standby line and was 20-minutes later denied entry, just barely, as I watched the guy in front of me (who had cut in front of me in line, no less) be the last person to get in.  No matter - I don't like getting let into movies 10 minutes after they've started, anyhow. I'm not a wait lister, at my core.

I did have my heart set on a six-movie weekend, though, which meant squeezing in THE DEEP BLUE SEA at the Paris theater around the corner instead.  I missed it at TIFF '11 and since I have a general fondness for Rachel Weisz, figured why not.

Well, I'll tell you why not.  Because that audience was full of useless good-for-nothing chatterboxes who had clearly not left their house in months if not years.  That's the only reason I can think of for their atrocious behavior in a public arena.    Conversations.  At full volume.  During the trailers. During the opening scenes.  I figured these 80 year olds just needed to get their yayas out and they'd quiet down once they got into the story. Not so, my friends.  I was surrounded by a chorus of conversationalists.  It's something out of a nightmare.  I switched seats multiple times, unable to talk (or glare) any sense into the offenders.   It's more than just being spoiled by the Drafthouse.  It's unacceptable and I almost walked out.

It's fair to stay that slightly informed my mood during the movie, but even so - it wasn't for me.  A beautiful, dramatic period piece with every shot framed and lit to perfection.  Yes, gorgeous. Nice job. But.  I didn't care too much.  The story dropped me in the middle of something without telling me who or why, and didn't get me there fast enough.  Eh.

I dashed out of the theater and ran back to MoMa for a 5:30 screening of HEMEL which I actually had a ticket for -- in other words, no need to hope and pray no d-bags cut me off in the standby line.

I'm not sure what stood out to me about the description of HEMEL or why I chose it in particular but I'm sure glad I did.  This is a compelling and at times uncomfortable Dutch drama whose main character could be compared to Michael Fassbender's sex addict in SHAME.    Except she's a young woman - at times defiant and unflinching in her conquests, other times wounded and unpredictable. She has a lot of sex - and she needs to.  A strong, focused, bold young woman with everything going for her - but nobody nobody who genuinely cares for her, except perhaps her art director father, with whom she shares a skin-crawlingly curious close relationship.

I really loved this!  It was totally one of those movies where I catch myself halfway through leaning forward in my seat, elbows on my knees, biting off what little fingernails I have left.  A performance like this is not one with Oscar clips but one that sneaks up on you in the way that you can't imagine this woman as anything but this character. If I were to by chance pass her on the streets of NY some day following the screening, I'd expect her to blurt out the c-word or give my (non-existent) boyfriend an inappropriately-flirtations once-over.

And the depth of her character! I got the feeling they could have taken this woman's story and made 20 different films about her.  There were so many sides to here to which the screenplay only alluded, that could have been compelling films in and of themselves.

I am not sure about the distribution plan of the film but I hope more of my movie-lover friends get the chance to check it out one way or another.

LAS ACACIAS at New Directors New Films (#NDNF @momafilm)

#NDNF Has Started!

My faithful readers (all two of you - hi @lousypictures, Hi @soOus) will recall that one of my movie goals this year was to visit the theater at MoMa. I HAS DONE THIS!

Even if I hadn't joined the MoMa this week for $70, I would have had my first visit this week to the movie theater at the Metropolitan Museum of Art anyway, because this week, the city is playing host to the New Directors New Films series at Lincoln Center and MoMa.

So, this Saturday, March 24th, marked my very first visit to the movie theater at the MoMA.  It similarly recommended my first screening at #NDNF.

I've bought a few tickets and I plan to add to my slate as I go along, @kenjfuj style.

My first film was one called LAS ACACIAS  I likely chose this one because it is Argentinian, and I like Argentina.

This movie took place over the course of two or three days. I would not call it a gripping and edge-of-your-seat shoot-em-up sweat-inducing story.  This one was about as subtle as it gets.  And by subtle, I mean slow as fuck but ultimately with the depth of character that you look for out of a little movie like this.

A truck driver begrudgingly transports a rural young mom and her infant child from Paraguay to Buenos Aires.  Now you know the beginning, middle, and end of this movie. But you don't know how authentic, how "slow because that's kind of the pace at which life moves" the narrative was, how innocently at least half of the audience sighed at the sweetness of the infant featured on film.

The film is virtually free of dialogue, especially during the first 30-minutes. I was cross about this for a while, until I realized the rest of the story used this believable silence to build a relationship that peeks through the quiet, dances around the warranted awkwardness and annoyance, and ultimately pays off in a way that will leave you wanting nothing more than to move to South America and give birth to the cutest, sleepiest, sneeziest Argentinian babies.

Or maybe it's just me. Regardless - if you've had some coffee, this is a rich, sweet, deep little story that deserves to be told.

::: BRB pricing flights to BA:::

THE HUNGER GAMES - More Opinions.

The Hunger Games is destined for greatness, despite what you or I think of it. It made almost $70mm in one day.  I mean. The writing is on the wall, no matter the quality of the entertainment.

That somehow doesn't stop me from posting my thoughts.  Three days after I finished the novels (all three), the first installment of the blockbuster film adaptation was released.  Although my co-workers organized an outing on Wednesday of next week, I couldn't bear for so many of the people I follow on Twitter to have seen it so far before I.  So, when offered the opportunity to see it in the morning after release on the upper West Side? yes, I snapped it up.

The "best American Sci-Fi since the Matrix?" Sure - I don't know enough about American Sci-Fi to disagree.  Highly, highly enjoyable and true to the books.

What I Liked:

* The main character.  Just like the book, American teenagers (and general audiences) have a real and true hero I can vouch for. Someone complex, someone brave. Someone who is more than a pretty face.

* The Tracker-Jacker kill - TENSE!

*Stanley Tucci. Yes. Yes, yes, yes. 1,000 times, yes.

* The screenplay - I didn't miss much that they cut. I wasn't offended by the minor changes they made between book and movie.  There was no change that compromised the tone/purpose/etc. 

* Jennifer Lawrence - She brought it.  She has the acting chops to play up the shadows of this character.

What I'm not so sure about:

* Gale casting.  He' s a little too pretty and not woodsy enough.  I felt like I was watching a studio-head's decision of what one party in a love triangle should be played by. I admit he doesn't have the most important role in this film, and I will stand by and see how his contribution changes over the course of the next two movies.

* I'm not sure the movie emphasized enough the starvation and suffering - both in District 12 before the games, and of the tributes (mainly our heroine) during the games.

* Why did not all of the deaths lead to a gong noise? Sometimes it sounded, and sometimes it didn't. Odd...


I do plan to see the movie again on Wednesday, provided I don't get distracted by the tons of other film events happening at NYC this week.

JIRO DREAMS OF SUSHI is poetry on screen.

What else is there to say? I saw this film as a devout sushi hater; in fact I've never eaten seafood at all. I reject it on principle. So my finding a doc about the world's best sushi chef Tolerable would be news. The fact that I loved it speaks volumes about how masterful this portrait was, although admittedly less about the art of a meal and more about what a life of honor, hard work and determination will bring you.

KID WITH A BIKE has been watched. By me. Finally.

And it was every bit as good as I was lead to believe! Those who have caught a flick with me at the IFC Center in the last couple months (which rightfully is at least half of Manhattan) know that I could not freakin' bear to sit through the trailer one more time. Nothing against it other than I have literally seen it more than ten times. Fine, no problem - I'll accept that as my punishment for somehow missing this one at TIFF 2011.

My friend Janis says this is one of her favorite movies of all time. I wouldn't go that far, but I do think it's a pretty stunning piece of filmmaking. Foster kid. Douchey dad. Neighborhood gang.  Even if not too terribly much happens, the performances are so solid and the character is built so carefully and subtly that I cared about this kid like he was family. And I didn't. Know. What. Was going. To Happen.  Lip biting. Heart bleeding. Good stuff.

I'll also give major props to the IFC Center for not just showing this movie but offering the last few Dardenne brothers films in the weekends leading up to its release.  I was lucky enough to catch LORNA'S SILENCE and L'ENFANT which I may have already written about, can't remember. 

It seems like brothers pair up and make good movies.  The Coen, the Polish, the Duplass.  Any theories why sisters aren't joining forces for film? Too busy forming singing groups?

SXSW 2012 is done and I have made a list of what I loved most.

Great year! Here's what made it so.

Drafthouse cookies. They bake them to order, y'all.  Piping hot, soft, dripping chocolate chips in a dark movie theater.  I don't require real much else to live and be happy.

Seeing old friends.  I got to meet up with Robyn and her husband and sweet little girl who drove from San Antonio to have what's now become our traditional yearly SXSW visit.  I further got to visit my friend Margaret (actually called Muffy when we met in the 2nd Grade) who is getting married soon and introduced me to her fiance. 

Meeting new people.  Turns out, there are quite a few nice and interesting Austin film folks, and I was pleased to make the acquaintance of several during this visit. Keep in touch, kids. Or better yet, come to NYC for Tribeca.

Meeting Matt Shiv.  @shivvy is just awesome enough to get his own separate bullet point.  What a delightful human and one I was lucky to sit by at a few movies during my last few days of the fest this year.  My friend Kelly has been singing this man's praises for years and I gotta say - she wasn't lyin'.

My killer lodging.  I stayed at an apartment I found on Airbnb for like $35 a night.  It was some guy's extra room in his luxury condo complex just off Slaughter Lane, like a 10-minute drive to the Drafthouse. I was hardly there so I never ran into the guy at all and it honestly felt like I had my own place.

The weather. After threatening to rain for days and days,  the skies cleared (THANK GOD) after opening weekend and it was sunny and 70's from then on.  Just what I need in a March Texas vacation, thankyou.

The Drafthouse.  Yes, that's separate from the cookies.  This place is just the shit.  Whatever you've heard about how great this place is, is totally true, time a million.  On the last day I learned you can order from the bar and drink it outside, which pretty much made me want to fly home, pack my stuff up, and come straight back to Austin to live forever.   Sigh.

Oh yeah - the movies! I saw 35, which is the exact number I was expecting to see. Most were good, a few were great. 

Here are my favorites:

Sinister
The Raid
Brooklyn Castle
The Source
Francine
Compliance

Now I return to New York City where I will continue my movie adventures with New Directors New Films and soon the Tribeca Film Festival.

More SXSW Impressions - The Sheik & I, Compliance, Etc (CC @Etornado)

Here goes several more movies I saw in Austin, and what I thought of them, for what it's worth.

Paul Williams Still Alive

I vaguely remember people freaking out for this at TIFF. This was the first of two documentaries I saw at SXSW co-starring the director along with his finicky rock subject. The "will he or won't he" persnickety artist angle is interesting, different, and to me has its limits. Do I want to finish a film knowing more about the film-maker than the subject? I'm not saying this was bad - because it wasn't by any means. I learned a good deal about a 70's era songwriter who was previously virtually unknown to me, and listened to probably every cover in existence of Rainbow Connection in the process. I do not regret the time I spent watching this movie.

Electrick Children

The plot - within an isolated Mormon community, a young woman falls pregnant due, she believes, to immaculate conception through her inaugural listening of rock music. She's ostracized from her community and takes off for Vegas on a quest to find the "father" of her child, the voice singing on the tape she discovers in the basement of her home. A series of "c'mon, really now?" style coincidences made this movie unable to qualify for a hearty recommendation from me but I would categorize the director/screenwriter (Rebecca Thomas) and star (Julia Garner) as ones to watch.

Compliance

This was #1 on my "I missed this at Sundance, please GOD let it be playing SXSW" list. Let's just call it highly anticipated, following some reportedly dramatic Q&As in Park City where at least one woman was offended by the violence in the film. I give next to no credence to Q&A shit-stirrers but quite a bit to my Twitter pals who unanimously loved this one. So. Definitely add my name to the list of people recommending this one highly. It will stick with you afterwards - long afterwards. I'm not sure it's important to read much about what it's about, but I will say that I was expecting it to be very visually graphic/unsettling but the disturbing nature was way more subtle than that. Equally subtle is the performances, in particular Pat Healy (The Innkeepers) and Ann Dowd. I was also pleased to see an appearance by Ashlie Atkinson, who I enjoyed in the overlooked 2012 Sundance comedy My Best Day.

Rock 'n' Roll Photos: Bob Gruen

I basically only saw this movie because I knew how much my friend Erin Russell would enjoy it were she here and I wanted to somehow transfer my experience to her, however impossible that might be. This was the fairly uninspiring yet historically significant story of a rock photographer I'd never heard of, but who's taken some pretty famous pictures of John Lennon, Yoko Ono, Iggy Pop, etc. This movie was quite long and like I said, not terribly cinematic or emotional, but certainly an informative and candid peek inside some of rock's most visible legends.

The Sheik and I

Oh man, this movie. It's a documentary and one whose merits have been hotly debated to the point that some people don't feel it should have been made or shown in the first place. It chronicles an American-born Iranian documentarian's journey after being commissioned by the Sharjah Biennial to make a piece of subversive art. This annoying dick head of a director uses that as an excuse to push the buttons of everyone involved in this commissioning (and then some), making (or attempting to make) a particularly irreverent (yet not particularly sincere) film whose purpose was clearly only to rile up an establishment whose culture I doubt very much he fully understands. Having said that, though, I did enjoy watching it and found some validity in the documentary - mostly as a conversation starter. I think it's totally possible to be put off by a film-maker ('cause god, who wouldn't be) and to find some validity in what he has created. To me, I enjoyed it less the way he intended it to be enjoyed and more for the dialogue it will undoubtedly create. I tend to think this controversial film will either be completely swept under the rug or be an explosive and highly publicized piece.

Leave Me Like you Found Me

Continuing the SXSW 2012 tradition of reflective dramas set in the woods, this one introduces us to a newly-back-together man and woman (and what a pair of beautiful people) as they navigate the emotional terrain around just having reunited after a year apart. This was not bad at all - in fact there were elements that were very good. I can't find a reason I will particularly remember this one much past this week - probably due only to the sheer volume of films I will have seen here.

What I thought of a shit ton of the SXSW films I saw - 21 Jump Street, The Raid, Girls, Francine Etc

Pilgrim Song

My favorite part of this quiet, beautifully shot personal gem was watching the main character take his personal journey of self discovery through the hiking trails of Kentucky. Not a setting featured in too many movies at a theater near you.

Doc Shorts Program #2

I went to this solely for the first one, called CatCam. Didn't even have to read the description to sell me. I hope this is distributed in some form, not that short films get the attention they're due, even the good ones. But this one at least has some hope - it has won the audience award and is also showing at Full Frame. Of course it also garnered the hotly contested title of Dor Dotson Best Cat Movie of SXSW. So there's that.

Daylight Savings

This is a sorta-sequel (I guess) to a little movie from 2011 SXSW that I liked, called Surrogate Valentine. Both of these take place in the universe of San Fran indie musicians. The leading man is the successful-in-music yet unlucky in love Goh Nakamura, an unlikely but totally endearing hero whose romantic foibles were a delight to watch and will hopefully continue for many more sequels. Maybe an IFC mini-series or something?

Hunky Dory

This poor movie will earn Glee comparisons left right and center, but that's not what's keeping me from recommending it. It's a period piece about teenage longing, rebellion and rock music set in 70's Wales, complete with the stuffy headmistress and Minnie Driver as the hot-headed drama teacher. Hard to hate any movie whose grand finish includes a cast of triumphant teens singing Bowie's Life On Mars, but this one has to work hard for my approval after a real, real messy first half that should hopefully be chopped a bit if it's ever tested.

Sinister

Scary movie alert! I waited in a long line for this, which was billed as a "Secret Screening," even though I knew what it was and wasn't particularly dying to see it. Glad I did, though. Spooky, spooky, spooky! Ethan Hawke plays a fallen-from-grace crime non-fiction writer who needs a hit, and unbeknownst to his family, moves them into the exact house where an unsolved murder/missing child case has occurred. I was thinking a lot about my friend David while I watched, since the movie heavily features a crawl space and potential serial killer plot line. And is just in general a freaky ass movie, which he loves. I was also suffering a bit because hanging really scare me and this movie featured a bunch of (distressed) shots of a mass-hanging. Got chills just writing that. Definitely see this.

In Our Nature

My second movie of the festival that takes place in the woods. Of course that's where the Pilgrim Song comparisons end in this somewhat predictable family drama about a father and a son who end up accidentally both bringing their girlfriends for a relaxing weekend at their country house. I found the script to be annoying and a little unrealistic but the performances in most cases elevated the material to "tolerable" - especially Jena Maline who was surprisingly NOT cast as the rebellious goth chick for once in her life. Refreshing. I'd say this one wasn't bad but I don't know about going out of your way to catch it.

Francine

Definitely one of my favorites. It doesn't take a genius to recognize the potential in this film if only due to the casting of Melissa Leo in the lead as a woman recently released from jail. That's about all we ever get to know about her background, and despite a script that must have been about 7 pages printed, I was positively glued. Super tense, perfect performance, compelling character, everything I look for and expect in a festival film.

Do-Deca Pentathalon

I can't imagine anything the Duplass Brothers could direct that I wouldn't put on my top 5 list of must-see films of any festival. Even their arguably weakest-received feature Baghead has a place in my heart and on my DVD shelf. And, their last effort Jeff Who Lives At Home, though made for juuuust a tad more than their debut The Puffy Chair, will surely place on my 2012 top 10. Do-Deca Pentathalon is about two estranged brothers who reunite as adults for a birthday weekend and can't help but fall back into their competitive ways, trying secretly to reenact a 25-event competition they did as kids, to decide once and for all who is the "better brother." It was mostly shot in 2008 at which point they set it aside to make Cyrus. They say they always knew they'd go back and finish it up. And though it definitely feels more like old-school Duplass brothers (it takes place over like, two days, has a fairly small-in-scope premise and probably cost less to make than I spent on my last vehicle), it's got the heart and humor that we still see in everything they've done since. I can't promise I'll buy this DVD but this sweet little movie certainly at least lived up to my expectations.

The Raid: Redemption

Bad ass - see it as early in its theatrical run as you can. The "actioniest" action movie I've ever seen. No need to describe the plot. There isn't much of one. You'll hear people losing their shit about this movie, if you haven't already. They're all right. Even someone like me who sees an action movie only on a rainy day if she's already seen everything else playing twice, can love this movie. Holy fuck, holy fuck - it's just that breathtakingly good. I could have gone four days without sleep, taken four ativan with a glass of warm milk, and still watched this movie on the edge of my damned seat. And again, that's from someone who typically doesn't love a movie unless Michelle Williams is in it or The Shins are on the soundtrack, or both, ideally.

frankie go boom

Meh - not for me. I have very weird standards for comedy at a film festival.For a quirkily low-budget zany comedy to work for me sort of takes a miracle. I can count on one hand the festival comedies I've loved in the last couple years. (Codependent Lesbian Space Alien Seeks Same, Four Lions top a short list.) This one fell super flat for me, despite some memorable and genuinely great (and actually not offensive at all) scenes involving Ron Perlman as a recently transitioned MTF. For me, Lizzy Caplan is 1 for 3 for Film Festival comedies so far this year (hint - I hated Bachelorette).

Brooklyn Castle

I tweeted something like this documentary had all the heart of Mad Hot Ballroom or Spellbound and the activism of Waiting for Superman without its controversy, and I'm sticking to that. I'm not sure it's particularly difficult to turn a story about inner city elementary school students who excel at a particular subject (in this case chess) and turn it into a heart-warming tale of temporary triumph against The Man (in this case the state government) but regardless of how not shocking it was to love this, I and many other people clearly fell head over heels. I see Sony has purchased remake rights but will anyone be releasing as-is? I hope so, because I imagine this doing well.

Girls

Lena Dunham is the 20-something New York prodigy who wrote/directed/starred in Tiny Furniture (which was actually her second feature) and many people love to hate her - it seems in part based on the life of privilege around which she chooses to center her stories. Now she has written a TV show that has been produced by Judd Apatow and will air on HBO and it is fucking great. I'm sure this will get compared to Sex and the City (even if to say it's a younger, hipper version) but the only point I see made here is that I'm sure if it weren't for SATC networks may not be convinced that a show about the lives of single Manhattanites could be so successful. I truly hope this one succeeds because I loved every second of it. They showed us three episodes and I would have happily sat there and watched the entire rest of the season. Can't wait for more, and would actually consider subscribing to HBO so as not to wait to watch.

21 Jump Street

Funny shit, and surprisingly so! I'd see this again.

The Tall Man

Interesting concept, subpar execution. I think SXSW fucked up in putting this "mildly menacing in atmosphere alone" movie in a midnight program alongside titles like the terrifying V/H/S and Sinister. Certainly not bad, but a bit silly. I'd like to see this story told, but a little differently, or better, I guess. And maybe with a different lead actor. Jessica Biel - eh.

Monsieur Lazhar

I had some high expectations for this since it was nominated for Best Foreign film. I would say this lived up to them. Nowhere near as good as A Separation (which actually won that category) but that's a pretty tall order. This takes on a pretty tough subject (an elementary school grieving after a teacher commits suicide) and frames this against the private suffering of the teacher who's assigned her class after it happens.

SXSW Links & Lists

 

I'll be doing more than my fair share of keeping Austin Weird starting tomorrow night. 

What am I looking forward to most about SXSW?

• DRAFT. HOUSE.  Happy place X 1000, so seriously the best movie theater chain in the world
• Not working. I love my job (usually) but it's really been quite the month there, since returning from Sundance.   Vacation. Now. Please.
• People-watching.  I'd say pointing and laughing too but I'm a decent human being ,so.
• Seeing my friend Audrey. OH WAIT NO SHE'S NOT COMING GODDAMMMNIT
• Oh yeah - movies.  I hope to see between 30-35 movies, and my plan is to focus on narratives since I'll be drowning in documentaries next month at Full Frame.
• Also the Alamo Drafthouse.

Next, through the wonders of Twitter, I've come across a few solid links about what's playing at SXSW that's worth my time. Since I'm not a writer, I'm all to pleased to link to these instead of making my own list of what I want to see.

The cool cats at Film School Rejects list their 16 must-see films
Indiewire's comprehensive list with links to their coverage + official sites
Several TwitchFilm writers list their top picks
Movies.com Top 25 SXSW

Lastly my friend linked me to this post about what to pack for SXSW and it made me laugh a little.  Soooo glad I'm not a girly girl.

38 Witnesses and Pater launch my 12-movie run at Rendez-Vous with French Cinema

My friend and I had planned to just see 38 Witnesses but it was Friday night in NYC and we're movie people, so it seemed unreasonable not to add another film (Pater) to our slate.

38 Witnesses starts with the grizzly murder of a beautiful 20-year old student in Le Havre, the French port city.  It begins with all of the citizens living in nearby flats standing firm on having nothing to report about the murder.  I learned just before the movie started that it was based on the Kitty Genovese murder in Brooklyn in 1964, although I see now only loosely based.    This one dealt mostly with a married couple - he dealing with the complex feelings of guilt around what he heard and did or didn't do, and she trying to reconcile her judgement of him.

This movie was sooooome kind of melodrama.  I liked how sparsely it was shot, with beautiful imagery surrounding the gigantic shops coming in and out of the port, etc.  But the writing carried with it a heavy-handedness that seemed about double the severity needed.  I wouldn't go out of my way to recommend this movie.

Next we watched Pater, which we knew nothing about going in. (Which to me is one of the most exciting things to me about film festivals.)  Thankfully, the lead actor was there to introduce the film and he explained it was made with one or two little cameras, just him and the director, after ten years of him convincing the (apparently quite prominent) director to work with him.  The two shot it in the director's house, and the premise was that one was the President and one was the Prime Minister.

My friend and I agreed the movie felt like one gigantic inside joke.  We laughed a couple of times. I wondered if I'm maybe not smart enough or maybe not French enough to understand or have enjoyed it further.   The actor said it was nominated for Cesar awards.   So... it must... be good? It sort of felt like The Trip, but a little more experimental and less funny.   And that isn't even to mention the woman behind us who deemed it acceptable to comment regularly at full volume about the movie as it played.  Real question - are some people physically incapable of whispering?

The Rendezvous begins tonight! Dor + IFC + French Cinema = YAY

By this time next week, I'll be on my way to the hip, innovative and drowning-in-booze Austin Texas. But between now and then,  I've got 12 films to see here in good ol' NYC, as part of the Rendez-Vous with French Cinema film series.

They're showing at a few different theatrical venues in this town, most notably my home away from home, the IFC Center.

Here's the list I'll be seeing.  Kind of super psyched about it. Now, to find a way to actually get out of work on time to make it to all these screenings <gulp>.

38 Witnesses

Zarafa

Louise Wimmer

Farewell, My Queen

17 Girls

The Intouchables

Free Men

Here Below

18 Years Old And Rising

Paris By Night

The Well Digger's Wife

Guilty

DID I MENTION ALL THE TICKETS WERE FREE with my IFC membership?  BTW that blessed thing has almost paid for itself, FYI.  In less than two months. Yeahhh.