Bruce says: “The 2009 French film WELCOME, directed by Philippe Lioret, somehow escaped under the Chlotrudis radar in spite of having a limited release in May of 2010. WELCOME is a story about a man who becomes involved with the
Diane says: “I love many of Iranian filmmaker Majid Majidi’s films (CHILDREN OF HEAVEN, BARAN, WILLOW TREE, COLOR OF PARADISE) for their gentle recognition of the beauty inherent in life. SONG OF SPARROWS, however, is so driven by its morality
Michael says: “Cary Fukunaga’s SIN NOMBRE won the best direction and best cinematography awards at this year’s Sundance Film Festival. The debut features a pair of excellent performances in the lead roles, Paulina Gaitain and Edgar Flores, a young Honduran
Bruce says: “Brillante Mendoza is rapidly becoming one of my favorite living directors. Mendoza has cleverly branded his version of social realism. His Filipino kitchen sink style and hand-held camerawork are not for everyone but they are essential components in
Scot says: “This is one of those *borderline* Chlotrudis films. It did release slowly enough to qualify, but in its fifth week, it went to 1,945 screens. So… do we penalize a film because it was distributed to win big?
Bruce says: “Henry Darger (1892-1973, pronounced Darjur) became the darling of the outsider art world about a decade or so ago. The film begins with a query, ‘Am I a real enemy of the cross or a sorry Saint?’ This
Michael says: “As a follow-up to the controversial FAT GIRL, Breillat serves up something highly original and self-reflexive. At the core of FAT GIRL’s controversy is a 12 – 20 minutes (depending on how you measure it) seduction/sex scene involving
Michael says: “Motherhood. In the arts, and to a certain extent, in life, the mother figure is laden with so much baggage. We all have certain expectations when it comes to mothers. Nurturing, self-sacrificing (remember BAMBI?), caring, encouraging. Director Roger
Chris says: I’m not sure how subversive HOW TO DRAW A BUNNY actually was, either, but it did justice to its subject, collage artist Ray Johnson (who was inarguably subversive). This is the usual collection of talking head interviews interspersed
Bruce says: “Ming-liang Tsai’s films are somewhat of an acquired taste, a delicious long-lasting taste once one gets in tune with his style. Not many directors go out of their way to capture the aesthetic of a deserted hallway or