Electric Sheep will be returning to the Karlovy Vary International Film Festival this year and the programme of its 53rd edition looks as exciting and promising as ever.
The Cannes Film Festival is planning to shake things up a bit during its 71st edition.
When the official festival line-up was announced last month, a sigh went through the crowd. Not only had Netflix been barred from this year’s Official Competition, but what’s worse was the repeatedly low number of female directors on display – only three out of 21 this time, undoubtedly a meagre result.
With over 400 films on show, the Berlinale offers an incredibly eclectic, fun and hugely exciting blend of new cinema.
With over 400 films to screen over the next ten days, the Berlinale retains the lead as the first big European festival event of the year. The selection films presented in Competition this time round reach from high-profile premieres like Wes Anderson’s fantastical new stop-motion animated feature Isle of Dogs, which serves as the festival’s opening feature, and Gus Van Sants Don’t Worry, He Won’t Get Far on Foot , starring Joaquin Phoenix, Jonah Hill, Rooney Mara, Jack Black, and Udo Kier, to bold new works from always exciting directors such as Christian Petzold (Transit), Philip Gröning (My Brother’s Name is Robert and He is an Idiot), Laura Bispuri (Figlia mia), Lav Diaz (Season of the Devil) and Steven Soderbergh (Unsane), starring Claire Foy and shot completely on iPhone.
Anglo-Italian Thrillers: In this episode of Electric Sheep’s monthly film show, Alex Fitch looks at British and Italian thrillers, including a selection of interviews recorded at Cine-Excess and SCI-FI-LONDON film festivals.
This year’s edition of Horror Channel FrightFest was dominated by stories of female survivors.
In these times of increased uncertainty and diffuse dangers, it is perhaps no wonder that stories of survival dominated this year’s edition of Horror Channel FrightFest. More specifically, it was female survival that appeared to be a recurring preoccupation in the work of the mostly male directors (only two feature films in the programme were directed by women).
The two high points of the festival, Cold Hell and Lowlife, both centred on complex, resilient and flawed women who must face deadly threats with only their own strength to rely on. In Cold Hell, directed by Stefan Ruzowitzky (The Counterfeiters), Turkish-Austrian Thai-boxing champion Özge faces daily racism and sexism in her job as a taxi driver. When she becomes the target of a serial killer, she finds that neither her family nor the police will help her. Uncompromisingly stubborn and more comfortable with punches than words, she is an engaging mix of toughness and vulnerability. Despite the implausibility of some of the plot lines, Cold Hell is exhilarating both because of its efficient, tensely paced action and its deeper emotional and political resonance.
The debut feature of director Ryan Prows, Lowlife also focuses on the plight of people who live on the margins of society, unprotected by the rule of law that most of us take for granted. An excellent ensemble piece created by a tightly knit cast and crew, it weaves three interconnected stories that follow a luchador, a pregnant drug addict and an ex-con as they confront a ruthlessly brutal organ trafficker. At the heart of the film is the relationship between two hardened and troubled women, who must face their demons and learn to join forces to defeat them. Irrepressibly joyful and horrifically brutal, like Cold Hell it uses a genre framework to pass comment on some very real and urgent issues.
Although it also appears to centre on a female survivor, Korean hit The Villainess is the exact opposite of Cold Hell. Shallow and one-dimensional, The Villainess has none of the psychological truth and social relevance of Stefan Ruzowitzky’s film, and its attempt to ground the action in personal drama only results in cloying sentimentality. Even as a straightforward action film, it is disappointing. The opening first-person corridor fight is a substandard retread of Oldboy with a POV gimmick that detracts, rather than enhances, the action; as for the climactic final confrontation, its impact is deadened by the over-reliance on CGI effects.
Less flashy and more thoughtful, Colin Minihan’s It Stains the Sand Red offered an unusual slant on the apocalyptic zombie genre, focusing on a cocaine-sniffing, booze-addled bad girl as she attempts to escape from LA across the desert. As she journeys through the scorched landscape, a strange kind of relationship starts to develop between her and the zombie who doggedly follows her, and this, together with memories of her previous life, causes her to radically reassess the choices she has made. As in Cold Hell and Lowlife, the female lead is characterized by a mixture of strength and weakness, and by an unshakeable determination to survive, her past proving to be both help and hindrance in that aim.
Interestingly, in all three films, the female survivors must fight not only for themselves, but also to protect a vulnerable dependent. Each film explores the complexities of the character’s relationship to her respective dependent, probing social expectations of women’s nurturing role from diverse angles.
One of the least savoury aspects that emerged in relation to the female survival theme, however, was the use of rape scenes to make a point in some of the films. The unnecessarily extensive depiction of sexual assault marred the otherwise thoughtful It Stains the Sand Red. The demonstration of the character’s capacity for survival could have been made just as efficiently with a shorter, less crudely exploitative scene. Even more troublingly, Andrés Goteira’s coldly smug Dhogs disingenuously highlighted the sadism of voyeuristic audiences while indulging in the nasty abuse of its female-survivor character, and in her degradation from attractive, free-spirited, sexually liberated woman to humiliated, whimpering, multiply brutalised victim. It is a point that could have been made with less misogyny, and more originality.
In contrast, writer-director Simon Rumley offered a stylish, intricate and richly faceted portrayal of a woman in meltdown in Fashionista. The obstacles that April must overcome may not be quite as dramatic as the ones listed above, but they are no less painful and destructive. A fetishistic lover of clothes, April loses sight of herself after a terrible betrayal and must fight for her psychological survival. Amanda Fuller, who was the heart of Rumley’s excellent Red White and Blue, gives an achingly raw performance, its emotional power augmented by the fragmented editing – the film is dedicated to Nic Roeg and its style recalls Bad Timing in particular. Although the concluding message is a little simplistic, overall Fashionista is an affecting exploration of heartbreak and fragile self-fashioning, shot through with disturbing intimations of the darkness that runs just under the surface of everyday life.
On Monday 7 August 2017, Electric Sheep‘s Managing Editor Pamela Jahn, Allan Hunter (Screen International) and Boyd van Hoeij (The Hollywood Reporter) took part in a panel of international film journalists to discuss five Swiss productions in this year’s Locarno Festival programme with SWISS FILMS director Catherine Ann Berger. The films included:
Goliath by Dominik Locher (International Competition)
Those Who Are Fine by Cyril Schäublin (Cineasti del Presente)
The Song of Scorpions by Anup Singh (Piazza Grande)
The Divine Order by Petra Volpe (Panorama Suisse)
The Congo Tribunal by Milo Rau (Semaine de la Critique)
Horror Channel FrightFest 2017 returns to the West End this year, with a packed programme of 63 films including 17 World, 20 European and 17 UK Premieres. Here’s the line-up announcement from FrightFest:
‘Back in the heart of London’s West End for its 18th ‘adults-only’ anniversary, the world renowned horror and fantasy film festival will take place at the Cineworld Leicester Square and The Prince Charles Cinema from Aug 24 – Aug 28 2017, taking over five screens to present 63 films including 17 World, 20 European and 17 UK Premieres. Fourteen countries are represented spanning five continents, reflecting the current global popularity of the genre.
The opening night attraction is the World Premiere of Universal’s criminally entertaining CULT OF CHUCKY, with director Don Mancini and stars Jennifer Tilly and Fiona Dourif in attendance, alongside the iconic deadly doll of destruction himself.
Mancini said: “It’s a true pleasure to be hosting the world’s first screening of Cult of Chucky at FrightFest. I have fond memories of unveiling Curse of Chucky there in 2013 so it’s great to be returning to the UK’s acknowledged home of horror – especially as this film picks up from where Curse…left off.”
Two more of the horror genre’s most popular and beloved franchises are given their World Premieres: To celebrate a decade of his cursed Victor Crowley creation, writer/director Adam Green is returning to FrightFest with a version of HATCHET never seen before. Plus, there is a presentation of Julien Maury and Alexandre Bustillo’s LEATHERFACE, the stunning prequel to the terror classic THE TEXAS CHAIN SAW MASSACRE.
FrightFest unveiled a bright new directorial talent when it screened Tyler McIntyre’s PATCHWORK at the Glasgow Film Festival and the closing night film is the European premiere of his amazing TRAGEDY GIRLS, where HEATHERS meets SCREAM in a dream combo. It stars super-powered heroines Alexandra Shipp and Brianna Hildebrand.
FrightFest also welcomes back Adam Wingard with the World Premiere of his supernatural manga DEATH NOTE, Joe Lynch with the European Premiere of his highly infectious action thriller MAYHEM, Mickey Keating with the European Premiere of his eye-shattering PSYCHOPATHS, Graham Skipper with the European Premiere of his surreal sci-fi romance SEQUENCE BREAK and genre favourite Barbara Crampton, who stars in Norbert Kell’s skin-crawler REPLACE, receiving its UK Premiere.
In a programme packed with innovation, uniqueness and individuality, other tips of the ice-pick are Ryan Prows’ powerful cult-in-waiting LOWLIFE, Trent Haaga’s stunning 68 KILL, high voltage THE VILLAINESS hot from Cannes, Alex de la Iglesia’s bleakly comic THE BAR, Miguel Angel Vivas’ remake of the French extreme thriller INSIDE, Daniele Misischia’s undead Romageddon THE END? Todd Tuckers’ affectionately creepy THE TERROR OF HALLOWS EVE, Brandon Christensen’s terrifying STILL/BORN, Sebastien Landry & Laurence Morais-Lagace’s head-exploding GAME OF DEATH, Kurtis David Harder’s provocative sci-fi horror INCONTROL and Royce Gorsuch’s kaleidoscopic mindbender MINDHACK.
Continuing the festival’s important and vital commitment to highlighting the cream of the homegrown crop, our British strand is well-populated with World Premieres for Dominic Brunt’s perverted shocker ATTACK OF THE ADULT BABIES, Christian James’ prison-set bloodsucker comedy FANGED UP and Matthew Heaven’s scorching revenge study ACCOUNTABLE. There are also European Premieres for Dominic Bridge’s debut dark morality tale FREEHOLD, Tom Paton’s nerve-shredding REDWOOD and Benjamin Barfoot’s hilariously blood-soaked DOUBLE DATE. And the ‘First Blood’ strand Is back on the menu with five tasty titles:, actor Jason Flemyng’s blood-sucking feature debut EAT LOCALS, Louis Melville’s squaddie shocker BOOTS ON THE GROUND, Hendrik Faller’s ice-cold thriller MOUNTAIN FEVER, Michaël Boucherie’s tattoo-terror WHERE THE SKIN LIES and Peter Stray’s alien-invading black comedy CANARIES.
The festival’s accent on rising talent is further enriched with Preston DeFrancis’ extreme slasher RUIN ME, Natasha Kermani’s sci-fi gender-blender IMITATION GIRL, Clay Staub’s supernatural detective thriller DEVIL’S GATE, Caroline Labrèche and Steeve Léonard’s mesmerising RADIUS, Samuel Galli’s devilishly shocking OUR EVIL, Andrés Goteira’s dazzling DHOGS, David Chirchirillo’s Tinder Terror GOOD MATCH, Tini Tuellman’s spine-chilling psycho suspense thriller FREDDY/EDDY, Haritz Zubillaga’s car-killing giallo THE GLASS COFFIN, Scott Poiley’s chiller EXHUME, Adam Graveley’s Aussie outback shocker 3RD NIGHT, Michael Mongillo’s audacious and haunting DIANE, Peter Ricq’s stark comedy DEAD SHACK and Carlos Algara and Alejandro Martinez-Beltran’s gripping psychological twister VERONICA.
Three documentaries will receive their eagerly awaited premieres at FrightFest this year. KING COHEN: THE WILD WORLD OF FILMMAKER LARRY COHEN is a dazzling career overview of the maverick director behind such classic horrors as IT’S ALIVE, Q THE WINGED SERPENT, fantasy television series like ‘The Invaders’, HELL UP IN HARLEM Blaxploitation, recent releases CELLULAR and soon the MANIAC COP remake. We welcome back on screen Kane Hodder, everyone’s favourite Jason Voorhees in the FRIDAY THE 13th series, with his moving and eye-opening TO HELL AND BACK: THE KANE HODDER STORY. Finally there’s the extraordinary MANSFIELD 66/67, a super Hollywood Babylon-style whisk through the final years of movie goddess Jayne Mansfield’s life and untimely, possibly Satanic, death.
Other attractions include Emilia Clarke in VOICE FROM THE STONE, Robert Englund in NIGHTWORLD, the French graphic novel adaptation ALONE, the outrageous gore-fest MEATBALL MACHINE KODOKU, the Aussie chiller KILLING GROUND, the hilarious TOP KNOT DETECTIVE and the Japanese TV series ‘Crows’ Blood’. Plus two FrightFest Glasgow hits are being rescreened: Simon Rumley’s FASHIONISTA and Colin Minihan’s IT STAINS THE SANDS RED.
This year’s retrospective restoration strand highlights the underrated British horror DREAM DEMON, RETURN OF THE LIVING DEAD III, two classic Hammers, BLOOD FROM THE MUMMY’S TOMB and DEMONS OF THE MIND, plus the longest version found of the seminal proto-giallo DEATH LAID AN EGG, lovingly restored by Nucleus Films’ Jake West and Marc Morris.
The Duke Mitchell Film Club is back with a hosted presentation of the UK premiere of Stefan Ruzowsky’s COLD HELL, a gripping serial killer thriller.
Alan Jones, co-director of FrightFest, said today: “The whole cinema landscape is changing and Horror Channel FrightFest is listening. We know the fans want to see the films first, see them fast and see them in an environment that is second to none. That’s why we have what we believe is the finest line-up ever assembled and are showcasing the superlative selection in premium surroundings. So, the West End becomes the Dark Heart of London once again. And we’ve made it to our 18th birthday. It’s going to be quite some party.”
Festival and day pass sales will go on sale Sat 1 July at noon and and are only available to buy on the FrightFest website.
Single tickets will go on sale on Sat 29 July from 9am.’
For full programme details amd timetables go to the FrightFest website.
The line-up for the 70th Locarno Festival promises a range of excting home-grown films amongst some big hitters and some hidden gems.
Electric Sheep will be at the Locarno Film Festival for the first time this year, and with its 16 title-strong Piazza Grande features and 11 world premieres, the 70th edition of the festival promises to be intriguing, fun and hugely exciting.
Opening tonight with Tomorrow and Every Other Day directed by Noemie Lvovsky, the Locarno competition line-up usually focuses on content rather than big names and this year is no exception. We are particularly looking forward to the new film by John Carroll Lynch, Lucky, starring Hary Dean Stanton and David Lynch, and other promising works by exciting new and established filmmakers such as Aaron Katz ( Gemini) and Jim McKay (En el Séptimo Día), Swiss director Dominik Locher ( Goliath, Quebec –based Denis Côté (A Skin So Soft), French auteur Serge Bozon ( Madame Hyde, starring Isabelle Huppert), Romanian director Andrei Cretulescu (Charlston) and Travis Wilkerson, whose latest work Did You Wonder Who Fired The Gun concerns a crime that has haunted his personal life since his childhood.
The Piazza Grande films in this 70th anniversary edition include Atomic Blonde with Charlize Theron, Cannes festival hit Good Time starring Robert Pattinson, Kumail Nanjiani’s refreshingly unusual romantic comedy The Big Sick, What Happened to Monday? with Glenn Close, Willem Dafoe and Noomi rapace, and the world premiere of Anup Singh’s The Song of Scorpions, starring Irrfan Khan, who will be one of the festival’s special guests this year.
Actor and director Mathieu Kassovitz, who stars in Samuel Jouy’s debut feature Sparring, will receive the festival’s 2017 excellence award, while Nastassja Kinski will be honoured with a lifetime achievement award and Adrien Brody will receive the honorary 2017 Leopard Club award.
The festival’s retrospective is dedicated to B-movie legend Jacques Tourneur (1904 – 1977), whose 1943 classic I Walked With A Zombie also plays in the Piazza Grande section.
Check out the line-up below, along with our reviews where available.
Stories of Love That Cannot Belong to This World, Francesca Comencini, Italy
Atomic Blonde, David Leitch, U.S.
Chien, Samuel Benchetrit, France
Tomorrow and Thereafter, Noemie Lvovsky, France
Three Peaks, Jan Zabeil, Germany, Italy
Good Time, Josh and Ben Safdie, U.S.
Gotthard – One Life, One Soul, Kevin Merz, Italy
I Walked With a Zombie, Jacques Tourneur, U.S.
Iceman, Feliz Randau, Germany, Italy, Austria
Let The Corpses Tan, Helene Cattet and Bruno Forzani, Belgium, France
Lola Pater, Nadir Mokneche, France
Sicilia!, Jean-Marie Straub, Italy, France, Germany
Sparring, Samuel Jouy, France
The Big Sick, Michael Showalter, U.S.
The Song of Scorpions, Anup Singh, Switzerland, France
What Happened to Monday, Tommy Wirkola, U.K.
9 Doigts, F.J. Ossang, France, Portugal
Good Manners, Juliana Rojas & Marco Dutra, Brazil
Charleston, Andrei Cretulescu, France, Romania
Did You Wonder Who Fired The Gun, Travis Wilkerson, U.S.
Freedom, Jan Speckenbach, Germany
Gemini, Aaron Katz, U.S.
Gli Asteroidi, Germano Maccioni, Italy
Goliath, Dominik Locher, Switzerland
Good Luck, Ben Russell, France, Germania
La Telenovela Errante, Raul Ruiz, Chile
Lucky, John Carroll Lynch, U.S.
Madame Hyde, Serge Bozon, France
Mrs. Fang, Wang Bing, China, Germany
Dragonfly Eyes, Xu Bing, Cina
A Skin So Soft, Denis Cote, Canada
Winter Brothers, Hlynur Palmason, Denmark, Iceland
Wajib, Annemarie Jacir, Palestine, France
En el Séptimo Día (On the Seventh Day), Jim McKay, U.S.
For more Information about this year’s programme visit the Locarno website.
Billed as the world’s oldest film festival, the prestigious Venice film festival has announced a star-studded line up which sets the tone for this year’s awards season. Venie has seen some proud premieres in recent years as a hotspot for launching awards contenders, including La La Land, Spotlight and Birdman, and this year is shaping up to be no different.
Opening the festival on 30 August is Alexander Payne‘s sci-fi satire Downsizing. The film stars Matt Damon, Kristen Wiig, Laura Dern, Christoph Waltz and Jason Sudekis, and follows a man who decides to shrink himself to better deal with life. Damon also appears in George Clooney‘s Coen Brothers-scripted crime comedy Suburbicon, which also screens as part of this year’s Official Competition.
Other world premieres include Guillermo Del Toro‘s The Shape of Water, a strange love story between a sea creature and a lonely government clerk, Darren Aronofsky‘s highly anticipated mother!, and Martin McDonough‘s Three Billboards Outside Ebbing Missouri, which sees Frances McDormand going against a small town’s police chief after her daughter is murdered.
Genre fans should also look out for the premieres of the follow up from Bone Tomahawk director S. Craig Zahler, Brawl in Cell Block 99, starring Vince Vaughn, and A24’s latest horror venture, Woodshock, with Kirsten Dunst in the lead.
The festival will also feature a special section dedicated solely to virtual reality, including a reworked 3D version of Michael Jackson’s Thriller directed by John Landis.
Check out the full line up below
VENICE 74 COMPETITION
Downsizing, Alexander Payne
Human Flow, Al Weiwei
mother!, Darren Aronofsky
Suburbicon, George Clooney
The Shape of Water, Guillermo del Toro
L’insulte, Ziad Doueiri
La Villa, Robert Guediguian
Lean on Pete, Andrew Haigh
Mektoub, My Love: Canto Uno, Abdellatif Kechiche
Sandome No Satsujin (The Third Murder), Hirokazu Koreeda
Custody (Jusqu’a La Garde), Xavier Legrand
Ammore e Malavita, Manetti Bros
Foxtrot, Samuel Maoz
Three Billboards Outside Ebbing, Missouri, Martin McDonagh
Hannah, Andrea Pallaoro
Jia Nian Hua (Angels Wear White), Vivian Qu
Una Famiglia, Sebastiano Rosa
First Reformed, Paul Schrader
Sweet Country, Warwick Thornton
The Leisure Seeker, Paolo Virzi
Ex Libris – New York Public Library, Frederick Wiseman
OUT OF COMPETITION (FICTION)
Our Souls At Night, Ritesh Batra
Victoria And Abdul, Stephen Frears
La Melodie, Rachid Hami
Outrage Coda, Takeshi Kitano (closing film)
Loving Pablo, Fernando León de Aranoa
Il Signor Rotpeter, Antonietta de Lillo
Diva!, Francesco Patierno
Racer and The Jailbird, Michaël R. Roskam
Zama, Lucrecia Martel
Wormwood, Errol Morris
The Private Life of A Modern Woman, James Toback
Brawl In Cell Block 99, S. Craig Zahler
Il Colore Nascosto Delle Cose, Silvio Soldini
OUT OF COMPETITION (NON-FICTION)
Cuba and the Cameraman, Jon Alpert
My Generation, David Batty
The Devil and Father Amorth, William Friedkin
Ryuichi Sakamoto: Coda, Stephen Nomura Schible
Piazza Vittorio, Abel Ferrara
This Is Congo, Daniel McCabe
Jim & Andy: The Great Beyond: The Story of Jim Carrey, Andy Kaufman and Tony Clifton, Chris Smith
Happy Winter, Giovanni Totaro
Casa d’Altri, Gianni Amelio
Michael Jackson’s Thriller 3D, John Landis
Making Of Michael Jackson’s Thriller, Jerry Kramer
Disappearance, Ali Asgari
Especes Menacees, Gilles Bourdos
The Rape of Recy Taylor, Nancy Buirski
Caniba, Lucien Castaing-Taylor, Verena Paravel
Les Bienheureux, Sofia Djama
Marvin, Anne Fontaine
Invisible, Pablo Giorgelli
Brutti e Cattivi, Cosimo Gomez
The Cousin, Tzahi Grad
The Testament, Amichai Greenberg
No Date, No Signature, Vahid Jalilvand
Los Versos Del Olvido, Alireza Khatami
The Night I Swam, Damien Manivel, Igarashi Kohei
Nico, 1988, Susanna Nicchiarelli
Krieg, Rick Ostermann
West Of Sunshine, Jason Raftopoulos
Gatta Cenerentola, Alessandro Rak, Ivan Cappiello, Marino Guarnieri, Dario Sansone
Under The Tree, Hafsteinn Gunnar Sigurdsson
La Vita in Comune, Edoardo Winspeare
The 70th anniversary editoion of the Cannes Film Festival promises to be as intriguing, fun and unpredictable as ever.
Opening on Wednesday 17 May with Arnaud Desplechin’s latest offering Ismael’s Ghosts, the Competition line-up continues to follow the slighter darker, more adventurous direction introduced last year, this time including exciting new films such as Sofia Coppola‘s The Beguiled, Todd Haynes‘ Wonderstruck, the Safdie brothers’ Good Time, and Snowpiercer-director Bong Joon-ho‘s Okja.
Yorgos Lanthimos follows up his acclaimed The Lobster with The Killing of a Sacred Deer, a Kubrickian version of a modern Greek tragedy starring Colin Farrell and Nicole Kidman, while Michael Haneke has teamed up again with Isabelle Huppert for his latest offering Happy End . We also very much look forward to Andrey Zvyagintsev’s Loveless, Fatih Akin’s thriller In the Fade and You Were Never Really Here, the new film by Lynne Ramsay, which sees Joaquin Phoenix’s killer protagonist plunging deep into conspiracy and crisis.
In comparison, this year’s Un Certain Regard strand looks somewhat pale at first sight. However, the two titles that stand out are Before We Vanish by veteran director Kiyoshi Kurosawa as well as Wind River, the directorial debut by Sicario and Hell or High Water writer Taylor Sheridan. Also worth checking out seems Western by German director Valeska Grisebach, who worked as a writer on last year’s Cannes favourite Toni Erdmann.
Out of Competition titles include Takashi Miike’s Blade of the Immortal and the new film by Hedwig and the Angry Inch director John Cameron Mitchell, How to Talk to Girls at Parties, while the Midnight Screenings strand seems to offer equally intriguing fare with Jung Byung-Gil’s The Villainess and Byun Sung-Hyun’s The Merciless. Plus, this year two episode’s of David Lynch’s upcoming season of Twin Peaks and two episodes of Jane Campion’s Top of the Lake will be screened, despite the fact that there is usually little television on show at Cannes.
As always, one must also take note of the usually excellent Directors’ Fortnight strand, which this year opens with Claire Denis‘ Un Beau Soleil Interieur, starring Juliette Binoche. However, the slate also includes new films from Abel Ferrara (Alive in France) and Sean Baker (The Florida Project), as well as Sundance frontrunner Patti Cake$ by Geremy Jasper, which serves as the closing film.
Check out the full Official Selection line-up below.
Loveless – Andrey Zvyagintsev
Good Time – Benny Safdie and Josh Safdie
You Were Never Really Here – Lynne Ramsay
A Gentle Creature – Sergei Loznitsa
Jupiter’s Moon – Kornél Mundruczó
L’Amant Double – François Ozon
The Killing of a Sacred Deer – Yorgos Lanthimos
Radiance – Naomi Kawase
The Day After – Hong Sang-soo
Le Redoutable – Michel Hazanavicius
Wonderstruck – Todd Haynes
Rodin – Jacques Doillon
Happy End – Michael Haneke
The Beguiled – Sofia Coppola
120 Battements Par Minute – Robin Campillo
Okja – Bong Joon-ho
In the Fade – Fatih Akin
The Meyerowitz Stories (New and Selected) – Noah Baumbach
Un Certain Regard
Barbara – Mathieu Amalric
The Desert Bride – Cecilia Atan and Valeria Pivato
Closeness – Kantemir Balagov
Beauty and the Dogs – Kaouther Ben Hania
L’Atelier – Laurent Cantet
Lucky – Sergio Castellitto
April’s Daughter – Michel Franco
Western – Valeska Grisebach
Directions – Stephan Komandarev
Out – Gyorgy Kristof
Before We Vanish – Kiyoshi Kurosawa
The Nature of Time – Karim Moussaoui
Dregs – Mohammad Rasoulof
Juene Femme – Léonor Serraille
Wind River – Taylor Sheridan
After the War – Annarita Zambrano