Joanna Kos-Krauze and Krzysztof Krauze’s (My Nikifor) amazing drama is exquisitely designed and replete with stunning musical sequences. "Spanning most of the 20th century… [this] ravishingly beautiful biopic commemorates the life and works of Bronisława Wajs, the first publicly feted female poet from Poland’s travelling gypsy minority… Every frame is a painterly masterclass in light and shadow."—Hollywood Reporter. Winner, Special Jury Prize, Istanbul 2014.
Wilhelm Sasnal—whose paintings hang in MOMA and Paris’ Pompidou—has a second life, alongside his wife Anka, as a director; their Parasite is a haunting, gorgeously made evocation of contemporary Polish alienation. Centred on a lonely old man and a troubled younger mother (with baby) who move in together, this formally daring work has both a rare immediacy and an aching sense of compassion.
This droll and appealing dramedy, set in a picturesque (if run-down) fishing village in northwest Iceland, focuses on dry alcoholic Hugi who’s trying to cope both with the feelings he still has for his ex-wife and a visit from his hard-drinking father… "One of the best up-and-coming young European directors, [Sigurðsson] has crafted a revealing, amusing and intelligent film to be cherished."—Screen
As Of Montreal’s madcap leader, Kevin Barnes’ creativity stems from chaos, be it outlandish stage shows, revolving bandmates or hairpin turns of musical direction. Recognizing that a definitive portrait of an artist so mercurial simply isn’t possible, Jason Miller instead “evokes the frantic consciousness of Barnes, his compulsion to create and move on to the next thing… It’s a spiraling kaleidoscope…”—Boston Globe
Director Christian Petzold and muse Nina Hoss follow Barbara with this brilliantly acted drama about a facially disfigured camp survivor, Nelly (Hoss), in 1945 Berlin, who receives reconstructive surgery before searching for her husband. When she finds him (Ronald Zehrfeld), he doesn’t recognize her—but, believing Nelly dead, enlists her in a plan to inherit his wife’s money… Echoes of Vertigo redound in this haunting work.
As both Orange Juice frontman and a solo artist, Edwyn Collins had a way with words. Then, two debilitating strokes reduced his vocabulary to his wife’s name and the phrase “the possibilities are endless.” Documentarians James Hall and Edward Lovelace “immerse us in the experience… Their take on accident and recovery is romantic and terrifying, lush but insular. They dig beauty out of tragedy…”—Guardian
Ruth (Sonja Bennett, who also penned the screenplay) fakes being pregnant to fit in with her child-rearing friends. This uproarious comedy from Jacob Tierney (The Trotsky) will have you cringing in between fits of uncontrollable laughter as Ruth’s web of lies becomes increasingly tangled. The road to acceptance has never been so baby-bumpy; you’ll be laughing until you birth. Sorry, burst.
In his latest incendiary investigative documentary, Harold Crooks (Surviving Progress) examines the sordid history of offshore tax havens and the dire contemporary ramifications of such corporate malfeasance. It seems that it’s big business’ world and we’re just picking up the tab. But how long can the middle class and poor bear the tax burden? This is shocking look at an unsustainable system poised to implode.
Droll and seductive, Matías Piñeiro’s romantic drama revolves around young theatre director Victor (Julián Larquier Tellarini), working on a radio adaptation of Love’s Labour’s Lost in Buenos Aires, who gets caught up in the lives of the five actresses he’s directing… "The film underlines the fluidity of romantic attachments… bringing to mind the complexity of the amorous allegiances in the Bard’s work."—Hollywood Reporter
Wild fish populations in BC have been declining since the late 70s, at about roughly the same time the open-net fish-farm industry began to grow fish in marine waters. Focusing on the research of biologist Alexandra Morton, filmmaker Scott Renyard links the crash of many fish species on Canada’s West coast to diseases spread from fish farms in this persuasive and urgent call to action.
Almost two decades after “Common People” dominated the UK charts, beloved Britpop stars Pulp return to their unlikely industrial hometown of Sheffield to play one last gig. Florian Habicht commemorates the occasion by sharing Jarvis Cocker’s musings (he equates fame to a nut allergy), high-concept vignettes (a seniors’ choir sings “Help the Aged”) and footage of the epochal concert. “The live performances are electrifying…”—Observer