Cynematik

BY CYNDI GREENING, MANHATTAN – It’s Sunday in Manhattan. A beautiful, bright blue sky hangs above the skyline. Our frustration with getting into films has reached a boiling point so we decided to try to get into a Broadway show instead. Ironically, that seems easier than getting into a film at the festival. As we walked toward the theaters, we stumbled upon a Sikh parade moving through Golda Meir Square. There was an undulating sea of orange scarves and a plethora of flowing saris. The chanting was haunting. Click on either image to see and hear twelve seconds of the parade. That’s right, twelve seconds. I didn’t have a video camera with me so this was all I could get with my digital still camera. You still get the gestalt of the moment.

We were able to get tickets to A CHORUS LINE Even though this is my fourth (!) trip to NYC, it was my first Broadway show. Pamela was quite determined to get to a show and I’m glad we decided to bag the movies and catch the live theater instead. I’ve loved the music for A Chorus Line since it first debuted. Seeing it was even better! I’ve been singing or (mercifully) humming “I can do that” and “I hope I get it” all week. “What I did for love” is in my repetoire for melancholy moments … like those moments when we’re trying to get into Mary Stuart Masterson’s CAKE EATERS.

Unfortunately, much of the festival has been an exercise in frustration. We RSVP’d, as instructed. We arrived an hour early, as instructed. We got into the Badge holders line, as instructed. We got to the door of the theater and were turned away by a particularly brusque NY volunteer who told us she simply could not let us in. Hours and hours of frustration is what we experience. So, we went out to the press line to see if we could get a shot of MSM and cast and a pithy quote or two. A particularly brusque security guard tried to block our path then realized we were press and allowed us through. In the end, we saw Masterson. She appeared excited and anxious for the debut of her film … a film we never got to see. I hope it went well.

Our experience at Tribeca has been, well, interesting. In fairness, the purpose of the festival is to promote business after 9-11. I suppose for the two weeks while the festival is going on there is an increase of traffic in the city. Mostly, I listened to New Yorkers greeting other New Yorkers who came out to see a film because they knew somebody connected to it.

Our experience was frustrating on many levels. Mostly because we came to see films not the long lines to get into the films and not the rude gate keepers taking coveted tickets. As press we have requested tickets to so many audience screenings, we have yet been able to attend a single screening where Q&A’s are the norm. We don’t know if they are occurring or what the audiences response to the movies are or what the writers, directors and actors have to say about their work. We can only provide information on a handful of films because we spent so much time in lines or on the subway trying to get to a different theaters or walking (and running) to films too many of which have been cancelled.

Granted this was our first Tribeca experience. Perhaps we made a mistake. We thought our job was to report on the films of Tribeca. Maybe it was really to report on the revitalization of New York. Our Tribeca experience in a nutshell? Cyndi asked me the other day what I wanted to see. My response? “I don’t want to go to a movie. I want to see something good!”

So, New York is exciting, amazing and fun. The people are busy living their lives. Business seems to be good everywhere we go. Mission accomplished. Good job Bob and Carol! Thanks for encouraging my colleague and me to come spend our money and our time in the Big Apple. Great way to get attention and coverage. New York was marvelous! Wish I could say the same about Tribeca.

BY PAMELA JO BOWMAN, MANHATTAN, NEW YORK – Today we took the opportunity to watch three documentary films at a venue for the press. WILL EISNER, PORTRAIT OF A SEQUENTIAL ARTIST; TWO EMBRACES; BETWEEN HEAVEN AND EARTH. We do like documentaries. We recognize how more people are beginning to appreciate them as well. We acknowledge that the public is becoming more sophisticated and more interested in these types of films.

You might wonder how a documentary on a man known for his contribution to the comic book world could reach a sophisticated audience but anyone who has been watching the evolution of the graphic novel craze knows that it does. PORTRAIT addresses Eisner’s contribution not only to animation but to young animators. Many artists including Neil Gaiman expressed their awe for his talent and their appreciation for enlarging the comic book venue to the adult population with adult topics, concerns and opinions. Eisner’s work was revolutionary. It expanded to more than the typical superhero stories. Comics became political and relevant mainly because of Eisner’s insight and vision. Eisner died in January of 2005 but his work has enabled others to see a different possibilty and experiment with their own vision.

TWO EMBRACES (DOS ABRAZOS) is a movie from Mexico. Since I lived there for 17 years, I am always interested in movies from and about Mexico. This was actually two movies blended together by a shared moment. What I appreciated about these films is the subtle acting that occurred. When you live in Mexico you realize that children are taught to act at festivals and school plays and presentations with theater flair and overly dramatic preformances. Watch a novela and you will know what I mean. In TWO EMBRACES, the actors were subtle and thus more powerful.

As for BETWEEN HEAVEN AND EARTH, we weren’t sure for quite some time if we were watching a feature or a documentary. We weren’t sure if the story was about the circus or the political situation or the social ramifications in Uzbekistan. There were some amazing shots and even some story lines I wish they had developed more, but mostly I wish they had chosen one of the story lines and developed it into a more thoroughly satisfying film.

After today’s viewings, we felt that there are some amazing stories that need to be told. More voices that need to be heard. The ability to create these beautiful shots should enhance the story. Today’s technology should enable the filmmaker to add more depth to their story, but first the story has to be clear and crisp and did I mention clear? We know we can do some amazing things with the software that is available to us. We must not forget that it begins with the story and it should be about the story and it should end with the feeling of experiencing an unforgettable the story. That’s the story for today’s slate of films.

BY PAMELA JO BOWMAN – MANHATTAN, NEW YORK – Today was a busy day! It was a beautiful rainy New York day. We won’t discuss what happens to my hair on rainy days. Not very relevant. So Cyndi decides to override my cheap ways and hails a cab! To tell you the truth, it would have been faster to walk to the subway. She was mad that I was up and ready to hit the road by 8 a.m. Some people are a tad temperamental in the morning!

So we get to the private screening facility to watch THE DEVIL RODE ON HORSEBACK This is a documentary based on Brian Seidle’s experience in Dafur. Brian was a retired soldier hired as a peace keeping observer (the entity that hired him was never really established). Using his camera, he was able to document the genocide that was occurring there in 2003 – 2005 (and continues to this day). This movie showed Brian witnessing the massacres and also his own self-revulsion at being unable to stop the murders that were occurring right in front of him. He was convinced that his photographs would provoke an immediate response from the world and, in particular, the U.S. government. Although his message is very clear, I felt the film would have been more affective as a narrative feature. I believe more people would have been reached and more would have reacted as Brian naively hoped.

I would like to address the whole Tribeca private screening experience. Apparently, in the past at Sundance, the press were allowed to check out movies to take home for private viewing (until last year when someone decided to copy them and distribute covertly). So, they discontinued that option. At Tribeca, they set up a little room with maybe 10 stations for press and industry to view films on a large flat panel display. We all wear earphones. These do enable you to hear your movie but they don’t quite mask the sound of everyone walking on the wooden floor above the screening room, people talking outside the screening room and even the noisy reactions of other screeners viewing other movies. The DVD of the movie we watched kept freezing and doing an unpleasant digital dissolution. Very annoying! Someone needs to resolve this issue.

After viewing this movie, we both needed to take a moment and absorb the information and the graphic images of the film. We walked, in the rain, to our next venue, a film workshop. This workshop discussed the different digital cameras and how they all are transferred to film. We were able to view short clips of current films (like CONTROL ROOM and IRAQ IN FRAGMENTS and JESUS CAMP) with details on the cameras and methods used by their filmmakers. We were really able see the benefits and shortcomings of different cameras and formats in the process of converting a film to (literal) film. This made me feel confident and relieved for our feature, which was shot on a Sony HD HVR-Z1U. The documentary, however, was made using four different cameras and four different formats. What a nightmare that puppy will be to blow up! OOOPS.

Afterwards, we went to a few of the press coverage screenings. Nice, but there are no Q&A’s. We hope tomorrow (when we see a movie with a festival audience) that there will be Q&A’s. We really enjoy the insight and understanding the Q&A’s provide regarding the filmmakers’ process and goals.

BY PAMELA JO BOWMAN, MANHATTAN, USA – On our first taxi ride in New York our cab driver tried to rip us off. I looked at the meter and saw $25.50. I asked if we could swipe our credit card. The swiper was right in front of me! Nope. Cash only. How much? $40.00 dollars. Huh? We let him know we might be from somewhere else, but we aren’t dolts! That same day another taxi driver took the long way around. It took 20 minutes to go 5 miles! I picked up on their tricks. Tonight we took a taxi. He tried the tricks. He asked if we wanted to go 6th ave or 10th. We told him whatever was fastest. He said you can never tell in New York City. I told him to drop us off right where we were. We were a block from our B&B. That will be $4.30. Now we are talking!

We have experienced some wild animals. They are called rats. So far we have met three. I wanted to take a picture of this rather large rodent, but they scurry around so fast!

Tonight we rode the subway up to Broadway. I am getting really good at swiping my subway card. You would think I was a local. I am amazed at the night life of this town. Everyone is out walking around. Broadway was sooooo cool. We had a Mary Tyler Moment without the hat!

I love this town! I have not experienced the New York attitude except from people who aren’t really from New York! Funny how that is. After our cab situation, I was so disappointed that I put on my tough girl in your face don’t mess with me attitude. One of the reporters I met today asked how long I have lived in New York! Oh about 24 hours!

The subway has been another grand experience. We bought an unlimited 7 day pass. I can ride anywhere for 7 days! I would like to say it was a conscious choice to ride the “6” downtown, but it was an error made by my traveling companion. You should never trust those teacher types! So off we went, climbed up the stairs, crossed the street to get to the other side of the subway, down the stairs and here comes that lovely public transportation. We even heard a guitarist entertain us in the station. How cool is that?

I haven’t even mentioned the food yet. There are these cute little cafes everywhere! So much competition can be a good thing for the customers! We have tried Italian, American. I have been told the Mexican food is something to avoid. How can I live without salsa! Someone help. This is New York City. Get a rope! Tomorrow will be another grand adventure. Wait that would be today! What is the point of sleeping? It really does get in the way! I don’t want to waste my New York minute.

PAMELA JO BOWMAN – MANHATTAN, NEW YORK – Yep, we are in New York City! Trying to attend the Tribeca Film festival. Today we rode the subway down to Tribeca. We managed to locate the building on Greenwich for our credentials. Then we headed 1/3 mile away to the press lounge.

We found out where we could set up interviews with industry people. We found out about private screenings so back to the Greenwich location to set up some screenings. We found out the movie we signed up to cover tonight was really just the red carpet arrival of “the stars”. We had to stand and wait for any available seats. We had to go to the theater where that screening was being held to buy any available seats for the films being shown within 24 hours. (several miles away, and no shuttles.) We asked about tickets for a screening to be held in 4 days. I think that would be out of the 24 -hour requirement, but no, we still had to go to the theater and wait ‘stand by’. Great fun! We were unable to get in. Back and forth we walked to get information and to find out they could not accommodate us. My feet, I can’t feel my feet! Numb, numb, numb. We have had some New York minutes, but that will be another blog!
We realize that this is our first experience at Tribeca. Our only reference is Sundance and SXSW. Every festival has their own way of producing their festival. What we have discovered is that Tribeca is in Manhattan. What that means is if you want to see any screenings you have to plan very carefully because the location screenings are very far apart. The best choice is to stay in the same location and see whatever they happen to be showing for the day. The private screening idea is pretty cool, but the movies of choice are limited to those that need more media exposure. All in all, it is a little frustrating as far as press goes.

So, if all else fails, enjoy the food, learn to ride the subway, take pictures like a tourist and enjoy being in New York City! OK. Left to my own devices, I know how to do that! Tomorrow is another day. Hopefully we will be more successful in covering this event as it progresses! All I have to say, ok…all I have to say right now is… know a good foot masseuse?

BY CYNDI GREENING, NEW YORK, USA – The east coast festival experience has begun and it is completely different from the Sundance experience. Sundance swallows up Park City, Utah and consumes the consciousness of everything around it. It becomes the have-all, be-all, end-all. Tribeca is held in lower Manhattan and, well, let’s be honest, it would be awfully dang hard for anything to swallow The Big Apple. It felt like we walked a million miles today trying to get our press credenticals, locate the Box Office, get the details on Press Conferences and Press Screenings. We walked back and forth and around Tribeca. Lovely part of the city (in the past, I spent far more time on the Upper East Side, Union Square and Greenwich Village) with a feel all of its own.

Tribeca has about ten times the number of attendees as Sundance (465,000 vs. 42,000). They have about the same number of films. Tribeca reporterd 2250 feature submissions in all categories versus Sundance with 1502. Tribeca reports around 2300 short films were submitted from 41 different countries. Tribeca will screen 157 feature length films and 88 short films.

Tomorrow, we will screen FRAULEIN, a Swiss and German film about three women from the former Yugoslavia. We’ll also be catching THE DEVIL RODE ON HORSEBACK, a documentary that I had wanted to see at Sundace but missed. Finally, we’ll be going to a DIGITAL TO FILM WORKSHOP. There’s a chance we’ll be able to record it. They said it was lightly attended today. I hope that means we won’t have trouble getting in tomorrow.

As festivals go, this is an odd one thus far. We’ve got ten more days to go so I’m sure it will shift for us soon. The press corps is omnipresent here … far more so than at Sundance. There are reporters and broadcasters everywhere and the coverage is intense.

Given that we’re editing our Zambia films on a Macintosh, it’s no surprise that I am very curious about the presentations that will be held at the Apple Store in Soho. The presenters will all be talking about how they used the Macintosh as a tool for their films. I’ve been following the career of many of these filmmakers for a very long time. I met Joel and Ethan Coen when they came to Phoenix to make RAISING ARIZONA. Arizona Republic film critic Marsha McCreadie took me along to take photos. It was great fun. Mary Harron did one of my favorite Sundance films, I SHOT ANDY WARHOL with the extraordinary Lili Taylor (who optioned the book THE HULA by Lisa Shea, wrote the screenplay and will soon go into production). I’m also excited about the animation presentation.

Joel and Ethan Coen (April 27, 4:00 p.m.) Hear Oscar-winning filmmakers Joel and Ethan Coen talk about their filmmaking experiences, including how they used Final Cut Pro to edit their films INTOLERABLE CRUELTY, THE LADYKILLERS and THE UPCOMING NO COUNTRY FOR OLD MEN.

Julie Delpy (April 28, 4:00 p.m.) Actress, singer, director, and Oscar-nominated writer Julie Delpy discusses her many artistic endeavors, including these critically acclaimed films: Before Sunrise; Before Sunset, which she cowrote and starred in; and 2 DAYS IN PARIS (Deux jours a Paris), her new film, which she wrote, directed, edited, produced, scored, and starred in.

David Holbrooke (April 29, 4:00 p.m.) Learn how filmmaker David Holbrooke used Final Cut Pro to edit more than 100 hours of footage for his latest documentary, HARD AS NAILS — a film about an unordained evangelical minister who is trying to save America one soul at a time.

John Dahl (April 29, 5:30 p.m.) John Dahl, director of THE LAST SEDUCTION and ROUNDERS, discusses the making of his latest film, YOU KILL ME. The film was edited with Final Cut Pro and colored with FinalTouch.

Mary Harron (April 30, 4:00 p.m.) Filmmaker Mary Harron, screenwriter and director of AMERICAN PSYCHO, talks about how she adapts novels into screenplays — most notably her current script based on Rachel Klein’s novel, The Moth Diaries. Hear how she and her husband, filmmaker John Walsh, use the Mac, and see footage from their latest video project edited with Final Cut Pro.

Edward Burns (May 1, 4:00 p.m.) Join actor and filmmaker Edward Burns for a discussion on independent filmmaking. Ed will share his thoughts on making movies and discuss how his film THE GROOMSMEN was edited with Final Cut Pro.

John Canemaker (May 2, 4:00 p.m.) Oscar-winning animator John Canemaker shares how he brought personal and difficult subject matter to the screen through his animated film THE MOON AND THE SON: AN IMAGINED CONVERSATION. The Mac played a significant role in the post-production of his hand-drawn animation.

Matthew Modine (May 3, 4:00 p.m.) Join actor and filmmaker Matthew Modine as he screens four short films he conceived and directed: I THINK I THOUGHT, TO KILL AN AMERICAN, BICYCLE FOR A DAY, and LOVE. Learn how Matthew used the Mac and Final Cut Studio to help bring these films to life.

Marc Forster (May 4, 4:00 p.m.)Hear director Marc Forster discuss the critical and commercial success of his films MONSTER’S BALL, FINDING NEVERLAND, STAY, and STRANGER THAN FICTION. Marc is currently in post-production on his adaptation of Khaled Hosseini’s best-selling novel, THE KITE RUNNER.

Student Filmmakers Panel (May 5, 4:00 p.m.) Their names may not be familiar now. But if their recent work is any indication, they will be soon. Meet some up-and-coming filmmakers whose movies were selected for the 2007 Tribeca Film Festival.

DJ Spooky (May 6, 4:00 p.m.) Hear media artist Paul D. Miller, known as DJ Spooky, discuss his boundary defying work, Rebirth of a Nation, in which he deconstructs and remixes D.W. Griffith’s controversial 1915 silent film, The Birth of a Nation.

I’m only a few days away from leaving for Tribeca. I finally got the 2007 Tribeca Film Guide printed out and I’ve been studying it so I can get my schedule in order. The Tribeca Film guide is a lot like the Telluride Schedule, brief. The Sundance Film Guide is much more detailed so I like it quite a bit more … and I’m probably a tad biased since it’s the guide I’m most familiar with.

Tribeca also has some wonderful extras available online. In the digital age, festivals would have to be quite lame not to put anything up. You’ll find the Tribeca Extras to include some fairly long interviews with filmmakers.

Earlier today, I watched AN INCONVENIENT TRUTH on cable. The environmental movement is finally gaining momentum (I remember being so concerned about it in the late 70′s but having most people just think of it as “silly hippy kids” making a big deal about nothing). Former Vice President Al Gore will be on hand to open Tribeca. The opening will feature seven short films about global warming.

The SOS Short Film Program has commissioned 60 award-winning filmmakers from wide-ranging genres and mediums, including feature films, documentaries, music videos, commercials and animation to create provocative shorts of no more than 10 minutes in length. The films range in tone from factual and dramatic to fictional and comedic. The Tribeca Film Festival will select seven of these films to premiere at the festival, which will be announced at the opening press conference for the
Tribeca Film Festival on April 22, 2007.

SOS has engaged many of the industry’s most prominent filmmakers including:
• Jonathan Glazer, Director, Birth, Sexy Beast;
• Kevin MacDonald, Director, Last King of Scotland;
• Abel Ferrera, Director, King of New York;
• Heidi Ewing and Rachel Grady, Directors, Oscar-nominated Jesus Camp;
• Aardman Animation, Producers, Wallace and Gromit;
• Amy Berg, Director, Oscar-nominated Deliver Us From Evil; and
• Ari Sandel, Director, Oscar-winning, West Bank Story.

“Message Movies” can be such a drag. Earnest but boring. With these directors participating, the SOS films might be good AND good to watch.

There are 61 films directed or co-directed by women and 15 films, in addition to those with female directors, which have expressly women’s interests. These films delve into topics which push the boundaries and break the molds of what is conventionally thought of a female film.

FEMALE FILMMAKERS

2 DAYS IN PARIS (Deux Jours á Paris), Directed and Written by Julie Delpy, Produced by, Christophe Mazodier, Julie Delpy and Thierry Potok, (France) – Actress Julie Delpy (Before Sunrise) writes, directs, edits, produces, stars in and even composes music for her crowd-pleasing directorial debut. With a snappy comic edge, the story revolves around Marion bringing her American boyfriend Jack (Adam Goldberg) on a visit to Paris. Between clashes of culture, language and flirtatious ex-boyfriends, their relationship is tested in this charming, smart gem. A Samuel Goldwyn Films Release.

ALEXIS ARQUETTE: SHE’S MY BROTHER, a documentary Directed by Matthew Barbato and Nikki Parrott, Produced by, Nikki Parrott (U.K.) – An intriguing look at sex and celebrity, this richly textured documentary, filled with drag queens and Hollywood glitterati, is actually a serious movie about transgendered life. In this unique and candid documentary, Alexis reveals a more private side as she grapples with the process of sex reassignment surgery.

ATTICA, Directed and Written by Cinda Firestone, (U.S.A.) – In 1971, inmates at Attica State Prison seized control of D-yard and took 35 hostages after peaceful efforts for reforms failed. Attica investigates the rebellion and its bloody suppression, revealing institutionalized injustices, sanctioned dishonesty and abuses of power. Attica provided courtesy of The New York Public Library, Donnell Media Center and New York Women In Film & Television.

AUTISM: THE MUSICAL, a documentary Directed by Tricia Regan, Produced by, Perrin Chiles, Janet Grillo, Tricia Regan, Sasha Alpert, Jon Murray, Joey Carson (U.S.A.) – Although the statistic is alarming–one in 150 children in the U.S. is now diagnosed with autism–this documentary is steeped in a sense of optimism. Filmed over the course of one year, it follows five autistic children in Los Angeles as they write and rehearse their own full-length musical, tossing aside all stereotypes in the process.

BETWEEN HEAVEN AND EARTH (Tussen Hemel en Aarde), Directed by Frank van den Engel and Masha Novikova, Produced by Jorinde Soree, Frederik Nicolai and Willemijn Cerutti (Netherlands) – In the heart of the Eurasian continent, the ancient center of the world where the Silk Road connected China to Europe, the circus is a deeply rooted cultural phenomenon. This film focuses on two circus artists, whose lifelong friendship in the dictatorship of Uzbekistan is affected by the different political choices they make. In Russian and Uzbek.

BEYOND BELIEF, Directed and Produced by Beth Murphy (U.S.A.) – Inspired by compassion for others whose loss they recognize as mirroring their own, two courageous women whose husbands died in the Twin Towers on 9/11 turn their grief into a catalyst for action. They travel to Kabul to help other widows, soon recognizing that the plight of the Afghan women leaves them feeling almost blessed. In English and Dari.

BRANDO, Directed by Leslie Greif and Mimi Freedman, Written by Mimi Freedman, Produced by Leslie Greif (U.S.A.) – Legendary actor, activist and eccentric Marlon Brando remains a mystery three years after his death. This fascinating new documentary intersperses interviews with friends Martin Scorsese, Johnny Depp, Al Pacino and others with unseen footage–including his Rebel Without a Cause screen test and home movies–to illuminate the man behind the image. A Turner Classic Movie.

THE BUSINESS OF BEING BORN, a documentary Directed by Abby Epstien, Produced by, Ricki Lake, Amy Slotnick, Paulo Netto and Abby Epstein. (U.S.A.) – In this candid and eye-opening documentary, director Epstein and producer Ricki Lake tackle the controversial debate between at-home and hospital births in the U.S. Shocking facts (to men and women alike) regarding the historical and current practices of the childbirthing industry interweave with footage of couples opting for home childbirth.

CAKE EATERS, Directed by Mary Stuart Masterson, Produced by, Jesse Scolaro, Allen Bain, Elisa Pugliese and Mary Stuart Masterson Written by Jayce Bartok (U.S.A.) – A prodigal son’s return conjures up old ghosts for three generations of two different families in a small, quiet town. Masterson’s debut feature unfolds the intimate secrets and tensions that compel these families to move forward.

DESCENT, Directed by Talia Lugacy Written by Brian Priest and Talia Lugacy Produced by, Talia Lugacy, Rosario Dawson and Morris Levy (U.S.A.) – A tale of innocence shattered, dreams destroyed and vengeance fulfilled, Descent begins with an idealistic vision of college sweethearts and wild house parties, but quickly falls apart. A rape sends Maya (Rosario Dawson) into a spiral of drugs, rage and despair—until she is reunited with her attacker and offered a chance to settle the score.

THE DEVIL CAME ON HORSEBACK, a documentary Directed by Annie Sundberg and Ricki Stern, produced by, Ricki Stern, Annie Sundberg, Gretchen Steidle Wallace, and Jane Wells (USA) – While serving six months as an unarmed military observer with the African Union in Darfur, Sudan, former U.S. Marine Captain Brian Steidle had access no journalist was afforded. Unable to intervene, he took thousands of uncompromising photographs that documented the genocide, then resigned his post and dedicated himself to exposing the magnitude of these atrocities.

DOUBLETIME, a documentary Directed by Stephanie Johnes, Produced by, Andrea Meditch (U.S.A.) –If seeing is believing, watching these kids Double Dutch elicits double-takes and disbelief. Chronicling the world of competitive jump roping, this energetic documentary follows two teenage teams that combine dance and gymnastics to breathtaking effect, as they prepare and contend for the world championship at the Apollo Theater in Harlem.

FRAULEIN (Das Fräulein), Directed and Written by Andrea Štaka, Produced by, Susann Rudlinger (Switzerland, Germany) – A brilliant portrait of three women from former Yugoslavia-one Croat, one Serb and one Bosnian-searching for "home" in the cold, alienating light of contemporary Zurich, and coming to terms with the war that lives in each of them. In German, Bosnian, Croatian and Serbian.

INVISIBLES, Directed by Mariano Barroso, Isabel Coixet, Fernando León de Aranoa, Javier Corcuera, and Wim Wenders, Produced by Javier Bardem, (Spain) – Giving voice to those silenced by international indifference, Academy Award nominated actor Javier Bardem teams with Doctors Without Borders to produce this powerful collection of short films. Five acclaimed directors shed light on heroic, yet unsung humanitarian efforts to combat international crises, which have thus far remained invisible. In Spanish, English, Lwo, Kiluba and Swahili.

JERABEK, a documentary Directed by Civia Tamarkin, Produced by Civia Tamarkin, Cary Truelick and Steve Levin, (U.S.A.) – A powerful and deeply personal story of one Midwestern family confronting the death of a son in Iraq, Jerabek chronicles the lives of those closest to the fallen marine for nearly two years, as they try to cope with their tremendous loss and wonder what price they will have to pay to keep another son from suffering the same fate.

LAST JEWS OF LIBYA, Directed by Vivienne Roumani-Denn, Produced by, Aryeh Bourkoff (U.S.A.) – This family memoir recounts the history of a North African community. After WWII, Libya still had a small, but strong, Sephardic Jewish population with its own traditions and dialect. Sixty years later, no one remains. Roumani-Denn tells her family’s history–Libyans for centuries, now scattered throughout the Diaspora. Narrated by Isabella Rossellini. In English, Hebrew, Italian and Arabic.

THE MAN OF TWO HAVANAS, a documentary Directed by Vivienne Lesnik Weisman, Produced by, Vivienne Lesnik Weisman, Sarah Monson, Tirsa Hackshaw. (U.S.A.) – Growing up in Miami, the director witnessed drive-by shootings and death threats directed toward her father, a former friend of Fidel Castro and opponent of the embargo. Using never-before-heard CIA audiotapes and fascinating interviews with her father, Weisman links his past and present in an eye-opening film that’s sure to be talked about. In Spanish and English.

NORMAL ADOLESCENT BEHAVIOR, Directed by Beth Schacter, Produced by, Brad Wyman, Pilar DeMann, Alywn Hight Kushner. (U.S.A.) – A darkly comic look at precocious teens grappling with sex, excess and alienation. Avoiding the high school party scene and random hookups, Wendy (Amber Tamblyn) and her friends form a clique that claims a more fluid sexuality. Schacter’s directorial debut delivers a provocative take on teen romance in this modern promiscuous age.

ON THE DOWNLOW, Directed by Abigail Child, Produced by, Abigail Child (U.S.A.) – A revealing portrait of four African-American men living in Cleveland, who all confront the struggles of everyday existence and the process of coming out. Experimental filmmaker Abigail Child uncovers their secrets as she explores the sexual, racial, and familial dichotomies of their lives. Screened with The Polymath, or the Life and Opinions of Samuel R. Delany, Gentleman in the Coming Out Program.

POSTCARDS FROM TORA BORA, a documentary Directed by Waymah Osman and Kelly Dolak, Produced by, Stephen Jablonsky, Kelly Dolak and Wazhmah Osman (U.S.A.) – After the 1979 Soviet invasion of Afghanistan, co-director’s Osman’s family fled to America with only a handful of photos and movies as reminders of the lives they had led. Now she returns home to search for her past and her father, who never left. Her quest reveals the history of this war-torn country in this personal film that’s full of personality. In English and Farsi.

A SLIM PEACE, Directed and Co-Produced by Yael Luttwak, Produced by Charles Lambert (UK) – When 14 women-Israelis, Palestinians, Bedouin Arabs, and American settlers in the West Bank-are brought together with the shared goal of losing weight, they find out they have far more in common than they ever would have imagined. A Slim Peace takes a revealing look at the universal struggle for acceptance, understanding and personal transformation in a land of intractable conflict. Preceded by We Will Win.

THE SUGAR CURTAIN (El Telón de Azúcar), Directed by Camila Guzmán Urzúa, (France, Cuba, Spain) – Guzmán Urzúa makes her feature documentary debut with The Sugar Curtain, an intimate portrayal of the singular experience shared by people of her generation-those living Cuba’s utopian dream during the golden era of the revolution. It is also a lament for the end of that dream, which began to fizzle after the fall of the Berlin Wall. In Spanish.

THE THIRD MONDAY IN OCTOBER, a documentary Directed and Written by Vanessa Roth, Produced by Vanessa Roth, Lindsay Crystal and Alexandra Gray (U.S.A.) – In the tradition of Spellbound, this charmingly funny and often moving documentary takes an intimate look at student council races in four diverse middle schools across the country. Filmmaker Vanessa Roth deftly reveals how family, national politics, geography and class all have an impact on the day that’s anxiety-filled for some and a blast for others.

THIRD WAVE, a documentary Directed by Alison Thompson, Executively Produced by, Donny Paterson, Bruce French, Oscar Gubernati, Alison Thompson (U.S.A.) – After the 2004 Tsunami, four independent volunteers from around the globe arrive in the Sri Lankan town of Peraliya to help in any way they can. What begins as two-week journey spirals into a year of unrelenting heartbreak, but eventually emerges as a triumphant story about the rebirth of an impoverished town. In English and Sinhalese.

THREE TOWERS, Directed by Yoni Bentovim, Emily Harris, Written by Etgar Keret, Shira Geffen, Producers Yoni Bentovim, Emily Harris, Clair Bee, (UK, Italy)

TOOTIE’S LAST SUIT, a documentary Directed and Produced by Lisa Katzman (USA) – Former Mardi Gras Indian Chief Tootie Montana is a New Orleans icon, famed for his brilliant handmade carnival costumes. When he decides to stage a late-life comeback, however, bitter family rivalries erupt. Filmed pre- and post-Katrina, this colorful portrait celebrates the resilient spirit of a man determined at all costs to preserve a vital cultural tradition.

TWO IN ONE (Dva v Odnom), Directed by Kira Muratova, Produced by Oleg Kokhan and Ruben Dishdishyan (Ukraine) – This celebrated director’s "exquisite cruelty" appear front and center when the death of a stage actor turns a theatrical drama into a real one. Two in One celebrates the psychological richness that lurks just beneath the surface of banal reality-if murderous stagehands, lascivious fathers and vengeful daughters can be described as banal. In Russian.

VIVERE, Directed and Written by Angelina Maccarone, Produced by Anita Elsani (Germany) – On Christmas Eve, Francesca sets out from her small town for the big city, Rotterdam to find her little sister, who has run off to follow her musician boyfriend. On the way, she picks up Gerlinde, a heartbroken older woman at the end of her rope. This exquisitely photographed tale employs a fragmented timeline to illustrate the story of three lost souls on the run. In German and Dutch.

A WALK INTO THE SEA: DANNY WILLIAMS AND THE WARHOL FACTORY, Directed by Esther B. Robinson, Produced by Esther B. Robinson, Doug Block and Tamra Raven (USA) – Esther Robinson’s engrossing, dream-like portrait of her uncle Danny Williams–Warhol’s onetime lover, collaborator and filmmaker in his own right–offers an engaging exploration of the Factory era, an homage to Williams’s talent, a journey of family discovery and a compelling inquiry into Williams’ mysterious disappearance at age 27.