Chicago Festivals by Year: Prizes, Juries, and Favorites   More Festivals Cannes / Toronto / Venice Browse Films by Title / Year / Reviews Main Navigations Home / Blog / E-Mail		Chicago Film Festival 2014 Main Competition Jury: Kathleen Turner (president), Giora Bejach, Ferzan Ozpetek, Parviz Shahbazi, Margarethe von Trotta Awards — Features Log — Shorts Log — OutLook Section — Competition 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. ?stlund 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 Trackbacks: Permalink 2014 Home Blog E-Mail