Kyle says: “MOUTON is the nickname for the title character; the word means ‘Sheep.’ It could also be taken as a description of audience members (like me) who are willingly dragged to artistic slaughter. The members of the Selection Committee
Kyle says: “SHE’S LOST CONTROL, a feature film debut by director Anja Marquardt, tells a tale of sex surrogates within the psychotherapy community: the elusive goal is intimacy but the process involves sex with people who are essentially strangers, often
Jason says: “SEVENTH CODE is the sort of movie that can easily get lost in a career like Kiyoshi Kurosawa’s: It’s a short thing produced alongside two large projects that sure looks like a promotional tool for its pop-star lead
Jason says: “The previous version of THE GRAND SEDUCTION, a French-Canadian film, SEDUCING DR. LEWIS, from about ten years ago, seems to have been fairly well regarded along with being popular enough to inspire a remake. That isn’t necessarily surprising;
The Satellite Girl and Milk Cow (South Korea; 81 min.) directed by: Chang Hyung-yun starring: Jung Yu-mi; Yoo Ah-in Jason says: “You can do absolutely anything with animation, so why not do a story about a satellite that falls to
Bruce says: “First there was HEADING SOUTH, Laurent Cantet’s 2005 film that featured middle-aged women fighting for the affections of Haitian beach boys. Then came PARADISE: LOVE, Ulrich Seidl’s searing 2012 portrait of Austrian women who go to Kenya to
Kyle says: “SALVO is a rather remarkable feature film debut by writers and directors Fabio Grassadonia and Antonio Piazza (although they have a substantial chronology together as writers and script consultants) — a Mafia thriller that is both mainstream and
Jason says: “The text at the beginning of THE SACRAMENT describes the journalistic style of its protagonists as ‘immersionism’, and I suspect that this is writer/director Ti West’s goal as well – getting the audience inside a situation that it
Kyle says: “SALVATION ARMY is a re-working of the autobiographical novel also written by Abdellah Taïa, who is making his directorial debut with this film. The first mainstream gay Moroccan film, Taïa tells the story of growing up poor and
Jason says: “The first RURONI KENSHIN movie had the look of a franchise starter in the best sort of way, an introduction to an appealing setting and group of characters that leaves the door open for new adventures. The second