A coming-of-age story about a young Russian man whose autism has made him socially awkward, Don Juan aspires toward crowd-pleaser status.
The Man Who Saw Too Much probes the psyche of a man who has confronted horror since childhood and finds refuge in his inner child.
A crime doc loaded with twists, Vladi Antonevicz’s mordantly ironic Credit for Murder revolves around a horrific killing in a Russian forest.
Stéphane Malterre's The Father, the Son and the Holy Jihad shows the reality of life in a Middle East removed from ignorant pronouncements.
God Knows Where I Am insists on too much, favouring tinkly, weepy piano music to hammer its message home.
Tadasuke Kotani's The Legacy of Frida Kahlo is a compelling portrait of the artist and is haunted by her legend.
Audrie & Daisy is an accomplished film loaded with novelistic detail about the girls, their families, and the boys who betrayed them.
Christy Garland's Cheer Up is a smooth, fun, and easy-going portrait of a Finnish cheerleading team.
A nightmare version of Cheers, Hotel Coolgardie is set mostly in the bar with excursions to unattractive outlying terrain.
I Am the Blues, Daniel Cross’s first directorial effort in ten years, lovingly depicts humble but spiritually rich musicians who won’t stop playing.