Locarno Film Festival has consistently been one of our favourites since we launched this website three years ago, offering up one of the most intricate, comprehensive, and provocative programs of the festival calendar. Last year marked our first covering the festival on the ground, and we’re excited to continue this for Locarno70. With the announcement of the films playing in the various sections at the festival in 2017, we’ve pored over the program to pick out the screenings we’re most excited to see, as well as those we’re most intrigued by. With the Concorso Internazionale, Concorso Cineasti, and Signs of Life selections the source of our favourites from the festival in the past, we’ve chosen to focus on these three throughout the piece. The full program for the festival is included at the end of the piece.
While the Piazza Grande offers the most recognisable image of Locarno, the Concorso Internazionale (the International Competition) serves as the festival’s centrepiece. Bangkok Nites, By the Time It Gets Dark, Godless, The Dreamed Path, and The Ornithlogist emerged as highlights of 2016’s selection — both at the festival, and more broadly, sitting amongst the best films we saw last year. Locarno70 has maintained its focus on assembling a nuanced competition, with markedly fewer works from bigger name filmmakers than most festivals of the same size. Oliver Assayas leads the jury — following on from the successful reception and theatrical release of Personal Shopper — with a career that has encapsulated the breadth of what the program aims to capture, in a “stimulating panorama of contemporary auteur cinema, where young talent rubs shoulders with that of established directors.”
At the top of the selection sits 9 Doigts (9 Fingers), from French polymath F.J. Ossang. Starring Paul Hamy — the lead from 2016’s The Ornithologist — and Gaspard Ulliel (Bertrand Bonello’s Saint Laurent, Xavier Dolan’s It’s Only The End of the World), the black-and-white noir thriller was shot between France and Portugal on 35mm. Ossang’s released nine albums with Messageros Killer Boys Fraction Provisoire, written t20 books, and made 10 films before this one; though his work has rarely sacrificed substantiality to achieve this.
From Brazil comes Juliana Rojas and Marco Dutra’s As Boas Maneiras (Good Manners), who reunite after 2011’s Trabalhar Cansa. Their new film follows a married couple, where the wife provides the means of support for the two of them. As Boas Maneiras revolves around a nurse from São Paulo named Clara, who is hired by a wealthy woman named Ana. It’s probably not common knowledge that America’s number one psychoanalysis drama In Treatment was remade by HBO Romania and directed by Romanian director Andrei Cretulescu. After cutting his teeth in prestige TV, Cretulescu is bringing his debut feature, Charleston, to Locarno. The film centers itself around a widower who is approached by a lover of his deceased wife, looking to overcome the grief of her death. While Cretulescu is a newcomer as the writer and director of the feature, the presence of lauded D.O.P Barbu Balasoiu (Sieranevada, Mandragora) adds a certain gravity to the work.
One of the most exciting flicks in the competition comes from experimental filmmaker Ben Russell, with Good Luck. Shot on 16mm, the documenta-produced film is focused on exploring how human labor functions in an increasingly globalised sociopolitical landscape, cutting between scenes centred around workers in a conflict-ridden region of Serbia and workers illegally mining for gold in Suriname. On paper, it feels reminiscent of Eduardo Williams’ film from the festival last year, The Human Surge — and even manages to feature a descent into the depths of the earth — but it’s hard to imagine the final product being too similar, especially given the degree to which both filmmakers’ outputs exist as resoundingly unique bodies of work. The film was co-produced by documenta, and plays with four channels throughout.
There’s a conceptual malleability to Travis Wilkerson’s Machine Gun or Typewriter — at times, it operates as a political polemic, at others it’s more proximal to a landscape essay film — and in his new Did You Wonder Who Fired the Gun?, which premiered at Sundance in January, Wilkerson continues to solidify his position as one of America’s foremost political filmmakers, while taking a more personal framing tact in looking at his great-grandfather’s killing of a black man in 1946.
The US contingent in the International Competition is larger than previous years, with Wilkerson one of several filmmakers from the country screening in the program. He’s not alone in the political-bent that underpins his offering at the festival. Jim McKay’s fifth feature En el Séptimo Día (On the Seventh Day) follows a group of undocumented immigrants from Puebla, Mexico, and while strictly speaking it’s a work of fiction, McKay worked closely with non-actors, with the director stating his intention was to make the film “with Mexican immigrants” since the film was “about Mexican immigrants.”
With an acting career spanning over two decades, John Carroll Lynch adds to the mix US filmmakers at the festival with his directorial debut, Lucky. Lynch has been one of his country’s most simultaneously recognised and respected actors, appearing in everything from IMDb-arthouse-canon works such as Zodiac and Fargo to more blockbuster-oriented flicks like Face/Off and Gran Torino. More recently, he played former US President Lyndon B. Johnson in Jackie. If it wasn’t already confusing adding another Lynch to the roster of directors in the US, David Lynch himself acts in his namesake’s film, alongside Twin Peaks and Straight Story star Harry Dean Stanton. The latter plays a 90-year-old atheist living in a desert town, a lonesome figure towards the end of his life who’s suddenly thrust into a spiritual and reflexive journey — with underlying references of his iconic role in Wim Wenders 1984 classic, Paris, Texas.
Rounding off the US presence in the competition is Mumblecore pioneer Aaron Katz. Set across Los Angeles, Katz’ latest, Gemini, features bigger names than one would generally associate with his genre: be they Mistress America‘s Lola Kirke, Mad Max‘s Zoe Kravitz, or Harold and Kumar‘s John Cho. Despite this, Katz looks to be sticking to his low-budget ethos, having writing the first draft of his latest film in two weeks in 2015 and screening the completed work less than two years later.
Closer to home, the sole Swiss film in the competition comes in the shape of Dominik Locher’s sophomore feature Goliath, in which amateur bodybuilding, steroids and abuse take centre stage. Featuring Sven Schelker — the lead from The Circle — as David, and Axolotl Overkill‘s Jasna Fritzi Bauer as his girlfriend Jessy, Locher’s film introduces us to the couple after they have been beaten up. As David resolves to become stronger through bodybuilding, to protect Jessy and his unborn child, the film follows the husband as he strays from his initial good intentions. Locher’s film isn’t alone at the competition in its interest in bodybuilding. Quebec-based filmmaker Denis Côté — who directed 2016’s Boris Without Béatrice, and 2013’s Vic and Flo Saw a Bear — screens in the competition with A Skin So Soft, a work interspersing documentary with fiction in a study of bodybuilders — dissecting the obsession with competition and overcoming limitations that defines them. Denmark-based filmmaker Hlynur Pálmason shares a similar interest in interpersonal complications in his entry, Vinterbrødre, which tracks two brothers and their “routines, habits, rituals and a violent feud that erupts between them and another family.”
One of the four debut features in the competition comes from Italian newcomer Germano Maccioni with The Asteroids, in which industrial, provincial Italy is given a sci-fi bent as two 18-year-olds gravitate towards joining a gang. It all occurs under the spectre of an asteroid passing over Earth, and the prospect of the end of the world. 44-year-old director Serge Bozon, meanwhile, comes off the back of 2013’s Tip Top and 2007’s La France with Madame Hyde, which stars the ever-prolific Isabelle Huppert, who has now appeared in more than 110 films throughout her career. The film is a female-driven reinterpretation of Robert Louis Stevenson’s Dr. Jekyll & Mr. Hyde, which re-frames the work around the contemporary education system. With a year on Bozon since her last effort in 2012’s Reported Missing, Jan Speckenbach returns with a work looking to explore what it means to be free — an ambitious goal, aptly titled Freedom. Set between Bratislava and Berlin, with the characters of Nora and Phillip respectively, Speckenbach examines two very different walks of life, where “Nora’s desire for freedom is Phillip’s chain.”
Chinese documentary-maker Wang Bing — who was both a juror for the International Competition last year, and screened Ta’ang in a seperate section of the festival — returns to Locarno with his latest effort Mrs. Fang. After a string of impressive works — with Ta’ang, Bitter Money, and ‘Til Madness Do Us Part all particularly notable — Wang is set to offer one of his most concise works in recent years at a tidy 86 minutes. The film also looks to be one of Wang’s more intimate works, exploring the perception of mental illness in non-urban Southern China, and continuing to build on ideas he first flagged in astounding four-hour ‘Til Madness Do Us Part. Xu Bing’s latest feature Qing Ting Zhi Yan comes as the second film from China in the International Competition. Xu is a director likely to be less associated with filmmaking than Wang, and more for his work as an artist as whose early career was focused around conceptualising materialism in post-Mao China. Studying during the Cultural Revolution; Xu is now arguably among the most prominent working in the country, currently serving as the vice president for international relations at the Central Academy of Fine Arts in Beijing. Throughout his career, Xu has often assembled his works using “collected items”: as a New York Times profile noted, “a tank-flattened bicycle from the Tiananmen Square protests of 1989 and dust from the destruction caused by the Sept. 11, 2001, terrorist attack in New York.” In what Variety’s Nick Vivarelli “a montage of Chinese closed-circuit footage used to create a fictional story”, Qing Ting Zhi Yan is likely to fall into this category of Xu’s output.
While Chilean director Raúl Ruiz passed away in 2011, and the footage for his latest effort La telenovela errante was shot in 1990 in Santiago, the assistance of Valeria Sarmiento will see reconstructed footage screening in the competition at this year’s festival. The work is a reflection on Chile after Pinochet, whose dictatorship Ruiz was an outspoken critic of. In an obituary for the filmmaker, Adam Thirwell wrote that Ruiz’s career “can be understood as a sustained resistance, a manic guerrilla operation against two forms of power: the violence of Pinochet’s dictatorship, and the control on conventional movie-making exerted by Hollywood.” It might be fitting to add “death” to that list. Although it has been six years since Ruiz died, this will be his third film released. It’s a work ethic many filmmakers would envy; the fact he’s hasn’t even been alive while this has occurred is a clear indicator of the influence Ruiz has had. Palestinian filmmaker Annemarie Jacier rounds off the International Competition with her latest film, Wajib, which translates to “duty” — a concept Jacier frames the work around. The film is structured according to an intimate family drama, playing out over the course of a single day in Nazareth. A divorced father and his son — who sided with his mother in the divorce — travel across town delivering wedding invites for the daughter’s wedding. The son has returned from Rome for the wedding, and old tensions resurfacing in turn.
Concorso Cineasti del presente
After his celebration-driven drama Brooks, Meadows and Lovely Faces played in the International Competition in 2016, Egyptian filmmaker Yousry Nasrallah returns to Locarno to lead the jury for the Concorso Cineasti — or, the Filmmakers of the Present competition. Described by the festival as “an ideal arena for discovery” and “dedicated to emerging directors”, the Concorso Cineasti del presente selection focuses on directors releasing their first and second features. Eduardo Williams took out the prize with The Human Surge last year, while other highlights included Tetsuya Mariko’s Destruction Babies, Kris Advedsian’s Donald Cried, Stergios Paschos’ Afterlov, Nele Wohlatz’ El Futuro Perfecto, Yuri Ancarani’s The Challenge, and Douglas Gordon’s I Had Nowhere To Go — many of which have since made it to (or appear in upcoming programs in) Australia.
This year Riccardo Palladino’s The Mount of Ants — which reflects on the nature of the insects against human beings — sits as one of the most visually impressive works in the program. Portugal’s Pedro Cabeleira’s debut feature, Damned Summer, makes a similar claim, with a trailer littered with crisp images — though the description of the film as “Lisbon as the backdrop for a drifting youth” leaves a lot to be desired. A sophomore effort in the selection comes in the hasty follow-up to Kim Dae-hwan’s austere 2016 flick, End of Winter. Cho-haeng, Dae-hwan’s festival offering, hones in on a couple expecting a child set off to the east coast of South Korea to reunite with family.
Japan’s Ryutaro Ninomiya provides another sophomore feature with Sweating the Small Stuff, expanding his cinematic interest in the everyday in the process. Where his 2012 effort The Charm of Others offered up a class-conscious comedy about workers in a vending machine factory in Japan, Sweating the Small Stuff takes a more personal approach; the protagonist a 27-year-old sharing the director’s name. Teaming up with Wet Woman in the Wind DCP Hidetoshi Shinomiya, the drama follows Ryutaro as he decides to visit his childhood friend’s dying mother.
Turkish director Gürcan Keltek continues his work around the “psychogeography” of 2015’s mid-length Colony, with Meteors, which concerns itself with “memory and disappearance — of people, places and things.” Shevaun Mizrahi’s Distant Constellation appears as another work in the selection set in Turkey, set in “a haunted daydream inside an Istanbul retirement home, where the residents live out their last days.” Meanwhile, Iliam Metev’s ¾ follows a pianist trying to prepare for an audition, and Eliza Hittman’s Beach Rats places an aimless teenager named Frankie at the centre of the film, following him as he struggles to reconcile competing desires. In Cyril Schaublin’s Those Who Are Fine, a character named Alice scams lonesome geriatrics by pretending to be their granddaughter, while Andrea Magnani’s Easy sees a man named Isidoro taking a coffin from Italy to Uktraine for work.
Topping off the selection: Narimane Mari’s imagined utopias of Le Fort des fous, Valeria Massadian’s rural English tale of young love in Milla, Dustin Guy Defa’s Michael Cera-starring Person to Person, Ana Urushadze’s housewife-centred Scary Mother, and Felipe Hirsch’s mysterious love story in Severina.
Signs of Life
Arguably the most experimental selection at the festival, Signs of Life is dedicated to “game-changing discoveries” that aim to “explore film’s frontier territories, engaging with new forms of narration and innovation in filmic language.” At Locarno69, the clear standouts of the selection came in the form of Dane Komljen’s All the Cities of the North, Anka and Wilhelm Sasnal’s The Sun, The Sun Blinded Me, and Theo Anthony’s Rat Film.
After taking out the Special Jury Prize at Locarno last year with Scarred Hearts, Romanian director Radu Jude hasn’t wasted any time in returning to the festival. The prolific filmmaker appears in the section with a documentary-essay in Țara moartă, which collects a series of photographs from a Romanian town in the 1930s and 1940s — an idea that Jude had already begun working on when we spoke to him at the festival last year. Rana Eid’s “delving into Beirut’s underground” in Panoptic is set to be one of the most captivating films in the selection, offering a cartography of the paradoxes that make up modern Lebanon. Across the border, Basma Alsharif‘s Ouroboros is framed as “an homage to the Gaza Strip” that oscillates between landscapes whilst moving to upend “mass-mediated representation of trauma”.
Adirley Queirós’ Once There Was Brazilia looks to be one of the stronger works in the section, as a low-budget sci-fi presented as “a documentary recorded in the Year 0 P.C. (Post-Coup)” in a satellite city called Brasília. Serbian director Boris Mitic offers a second unconventional take on the documentary with the satirical “parable about Nothing” narrated by Iggy Pop, In Praise of Nothing. Nelson Carlo De Los Santos Arias provides another film at the festival built on the premise of a return home met with sudden conflict in Cocote, broadening this out with a strong visual underpinning. French director Clément Safra opts for a series of abstracted profiles of resistance in a trim 75-minute film playing out as a walk through a forest in Filmus, while Giovanni Columbi’s Surbiles portrays a group of women who were blamed for the deaths of multiple children in Central Sardinia.
Shorts in the section include Luis López Carrasco’s experimental reflection on the Zombies singer Terra Arranz in Aliens, Laila Pakalnina’s rural meditation in Zirdzin, hallo!, and the likely highlight of Dane Komljen’s Phantasiesätze; which follows the director’s aforementioned feature-length from last year, All The Cities of the North.
While the Piazza Grande selection doesn’t share the same depth as the other selections, it remains the most recognisable image from Locarno — and offers up an 8,000-capacity outdoor cinema for audiences to catch some of the bigger name flicks playing at the festival. Anup Singh’s Irrfan Khan-starring The Song of Scorpions premieres in the selection, while the Safdie Brothers’ Good Time makes an appearance in the program quite a while into its festival run. On top of this, there are parts of the program stemming from other sections at the festival as well, with Jacques Tourneur’s — the focus of the Retrospettiva section — I Walked with a Zombie playing in the Piazza, alongside Jean-Marie Straub and Daniéle Huillet’s Sicilia! — the former of the pair is featured in the Histoire(s) selection. From the same selection Mathieu Kassovitz will appear on the big screen in Sparring, adding to the array of films centred around physicality at the festival.
Tommy Wirkola’s What Happened to Monday? takes up the UK post-apocalyptic flick from last year’s festival opener The Girl With All The Gifts, while Michael Showalter screens at the festival with a Judd Apatow-produced, Ray Romano-starring comedy in The Big Sick. There are plenty of other films playing at the Piazza, which you can find in our full program list at the bottom of the piece.
It’s the 15th year of Open Doors at Locarno this year, the sidebar program that “spotlights cinema in the shadows,” with a noted focus on countries often excluded or underexposed in festival programming — focusing “on regions in the South and the East.” Last year, a three-year program focusing on supporting and representing filmmaking in the South Asian countries of Afghanistan, Bangladesh, Bhutan, Maldives, Myanmar, Nepal, Pakistan and Sri Lanka began, and in 2017 this continues, with a clear focus on the Middle East in particular — which Shahrbanoo Sadat revealed to us in our chat at Sydney Film Festival this year. Sadat’s film, Wolf and Sheep, screened in the selection last year here, and the Afghani director appears again in 2017 with a short.
Histoire(s) du cinéma
The Histoire(s) du cinéma is always a mixed bag at the festival, screening films from various figures receiving awards or recognition at the festival. This year, Todd Haynes will receive a lifetime achievement award, marking the event with a screening of his latest film, Wonderstruck, and his 1991 feature outing Poison. Another recipient is French actor Mathieu Kassovitz, best known internationally for his role in Amelie. Other recognitions in the Histoire(s) program include producer Michel Merkt, Nastassja Kinski, Adrien Brody, and Hans-Ulrich Schlumpft; marked with screenings of Sarunas Bartas’ Frost, David Cronenberg’s Maps to the Stars, Yance Ford’s Strong Island, Terrence Malick’s The Thin Red Line, Paul Schrader’s Cat People, Roman Polanski’s The Pianist, and Hans-Ulrich Schlumpf’s Der Kongress der Pinguine and Kleine Freiheit.
While his partner — both romantically and as a filmmaker — Danièle Huillet passed away in 2006, French heavyweight Jean-Marie Straub will receive the “Pardo d’onore”, or the Leopard of Honour, which comes as one of the most prestigious awards at the festival. Last year, it went to Alejandro Jodorowsky. In previous years, the recipients have included Manoel de Oliveira, Bernardo Bertolucci, Ken Loach, Jean-Luc Godard, Abbas Kiarostami, Terry Gilliam, Aleksandr Sokurov, William Friedkin, Alain Tanner, Jia Zhang-ke, Leos Carax, Werner Herzog, Agnès Varda, Michael Cimino, and Marco Bellocchio. The announcement of the Straub-Huillet will likely come as the most celebrated section of the Histoire(s) du cinéma. Straub’s Kommunisten will screen at the festival, alongside a series of Straub-Huillet features: Cézanne, Dialogue avec Joachim Gasquet, Dalla nube alla resistenza, Klassenverhältnisse, Une visite au Louvre, and Von heute auf morgen. On top of this, short films from the legendary director — L’Aquarium et la nation, La Guerre d’Algérie!, Der Bräutigam, die Komödiantin und der Zuhälter — and a couple of collaborations with Huillet — En rachâchant and Incantati — will also play at the festival as part of the selection.
Could a director be topical at Locarno70, even if back when he was making films the Locarno Festival was only an idea, or just a fledgling event? Well yes, if the director concerned is Jacques Tourneur, to whom the Locarno Festival dedicates its 70th year Retrospective. It’s not in the spirit of an archaeological exhumation, either, but rather a celebration and inquiry into a filmography of forceful, contemporary impact. Fifty years after his last film, Tourneur will take over the GranRex, unleashing his play of light and shade and captivating the audience with his visions, his noir fantasies and tensions. His films do not inculcate fear by shock and surprise, but meditate on its essence as a deep and revelatory sensation. Tourneur reflects on men and women and their limits, exploring otherness, obsession, in a world whose visionary, magnetic hold is as strong now as it was when he last yelled, “Cut!”
From the festival program notes: “Over the years the Locarno retrospectives have delved into every corner of cinema history: from great career monographs (including Ozu, Guitry or Welles) to themed programs (such as Another History of Soviet Cinema 1926–1968, Titanus or the Cinema in the Young Federal Republic of Germany, in the years 1949 to 1963); from wide-ranging tributes to contemporary filmmakers of the caliber of Bellocchio, Kiarostami and Kaurismäki, to complete retrospective seasons of acknowledged great masters such as Lubitsch, Minnelli, Preminger, Cukor, and Sam Peckinpah. The 2017 retrospective will be dedicated to French filmmaker Jacques Tourneur.”
Amori che non sannon stare al mondo (dir. Francesca Comencini)
Atomic Blonde (dir. David Leitch)
Chien (dir. Samuel Benchetrit)
Demain et tous les autres jours (dir. Noémie Lvovsky)
Drei Zinnen (dir. Jan Zabeil)
Good Time (dir. Ben Safdie, Joshua Safdie)
Gotthard – One Life, One Soul (dir. Kevin Merz)
I Walked with a Zombie (dir. Jacques Tourneur)
Iceman (dir. Felix Randau)
Laissez bronzer les cadavres (dir. Hélene Cattet, Bruno Forzani)
Lola Pater (dir. Nadir Moknéche)
Sicilia! (dir. Jean-Marie Straub, Daniéle Huillet)
Sparring (dir. Samuel Jouy)
The Big Sick (dir. Michael Showalter)
The Song of Scorpions (dir. Anup Singh)
What Happened to Monday? (dir. Tommy Wirkola)
Signs of Life
Aliens (dir. Luis López Carrasco)
Cocote (dir. Nelson Carlo De Los Santos Arias)
Era uma vez Brasília (dir. Adirley Queirós)
Filmus (dir. Clément Safra)
In Praise of Nothing (dir. Boris Mitic)
Ouroboros (dir. Basma Alsharif)
Panoptic (dir. Rana Eid)
Phantasiesätze (dir. Dane Komljen)
Surbiles (dir. Giovanni Columbu)
Zirdzin, Hallo! (dir. Laila Pakalnina)
Tara moarta (dir. Radu Jude)
9 Doigts (dir. F.J. Ossang)
As Boas Maneiras (dir. Juliana Rojas, Marco Dutra)
Charleston (dir. Andreï Cretulescu)
Did You Wonder Who Fired the Gun? (dir. Travis Wilkerson)
En el Séptimo Día (dir. Jim McKay)
Freiheit (dir. Jan Speckenbach)
Gemini (dir. Aaron Katz)
Gli Asteroidi (dir. Germano Maccioni)
Goliath (dir. Dominik Locher)
Good Luck (dir. Ben Russell)
La Telenovela Errante (dir. Raúl Ruiz, Valéria Sarmiento)
Lucky (dir. John Carroll Lynch)
Madame Hyde (dir. Serge Bozon)
Mrs. Fang (dir. Wang Bing)
Qing Ting Zhi Yan (dir. Xu Bing)
Ta peau si lisse (dir. Denis Côté)
Vinterbrødre (dir. Hlynur Pálmason)
Wajib (dir. Annemarie Jacir)
28 (dir. Prasanna Jayakody)
A Girl in the River: The Price of Forgiveness (dir. Sharmeen Obaid-Chinoy)
Davena vihagun (dir. Sanjeewa Pushpakumara)
Earth and Ashes (dir. Atiq Rahimi)
Jeewan Hathi (dir. Meenu Gaur, Farjad Nabi)
Khamosh Pani (dir. Sabiha Sumar)
Moor (dir. Jamshed Mahmood)
Namai Ba Rahis Gomhor (dir. Roya Sadat)
Osama (dir. Siddiq Barmak)
Sulanga Enu Pinisa (dir. Vimukthi Jayasundara)
Semaine de la critique
Blood Amber (dir. Yong Chao Lee)
Das Kongo Tribunal (dir. Milo Rau)
Družina (dir. Rok Biček)
Favela Olímpica (dir. Samuel Chalard)
Las cinéphilas (dir. María Álvarez)
Señorita Maria, la falda de la montaña (dir. Rubén Mendoza)
The Poetess (dir. Stefanie Brockhaus, Andreas Wolff)
Concorso Cineasti del presente
3/4 (dir. Ilian Metev)
Abschied von den Eltern (dir. Astrid Johanna Ofner)
Beach Rats (dir. Eliza Hittman)
Cho-Haeng (dir. Kim Dae-hwan)
Dene wos guet geit (dir. Cyril Schäiblin)
Distant Constellation (dir. Shevaun Mizrahi)
Easy (dir. Andrea Magnani)
Edaha no koto (dir. Ninomiya Ryutaro)
Le Fort des Fous (dir. Narimane Mari)
Meteorlar (dir. Gürcan Keltek)
Milla (dir. Valerie Massadian)
Person to Person (dir. Dustin Guy Defa)
Sashishi Deda (dir. Ana Urushadze)
Severina (dir. Felipe Hirsch)
Verão Danado (dir. Pedro Cabeleira)
Pardi di domani
3/4 (dir. Ilian Metev)Agvarim shel Ella (dir. Oren Adaf)
Agvarim shel Ella (dir. Oren Adaf)
António e Catarina (dir. Cristina Hanes)
Armageddon 2 (dir. Corey Hughes)
Boomerang (dir. David Bouttin)
British by the Grace of God (dir. Sean Robert Dunn)
Crossing River (dir. HAN Yumeng)
Das satanische Dickicht – DREI (dir. Willy Hans)
Douggy (dir. Matvey Fiks)
Edge of Alchemy (dir. Stacey Steers)
Fine di un amore (dir. Alberto Tamburelli)
Haine negre (dir. Octav Chelaru)
Harbour (dir. Stefanie Kolk)
Jeanues Hommes à la fenêtre (dir. Loukianos Moshanos)
Kapitalistis (dir. Pablo Muños Gomez)
Loop (dir. Matija Gluscevic)
Los perros de Amundsen (dir. Rafael Ramirez)
Negah (dir. Farnoosh Samadi)
Nikog nema (dir. Jelena Gavrilović)
Palenque (dir. Sebastián Pinzón Silva)
Plus Ultra (dir. Helen Girón, Samuel M. Delgado)
Shmama (dir. Miki Polonski)
Signature (dir. Kei Chikaura)
Silica (dir. Pia Borg)
Song X (dir. Mont Tesprateep)
Vypusk ’97 (dir. Pavlo Ostrikov)
Wasteland no. 1: Ardent, Verdant (dir. Jodie Mack)
Zhizn’ moego druga (dir. Alexander Zolotukhin)
Acta Non Verba (dir. Yvann Yagchi)
Anatomia del miracolo (dir. Alessandra Celesia)
Azmaish (dir. Sabiha Sumar)
Choisir à vingt ans (dir. Villi Hermann)
Contes de juillet (dir. Guillaume Brac)
Filles du feu (dir. Stéphane Breton)
Grandeur et decadence d’un petit commerce de cinema (dir. Jean-Luc Godard)
Ibi (dir. Andrea Segre)
Le Venerable W. (dir. Barbet Schroeder)
Nazidanie (dir. Boris Yukhananov, Aleksandr Shein)
Nothingwood (dir. Sonia Kronlund)
Nous sommes jeunes et nos jours sont longs (dir. Léa Forest, Cosme Castro)
Piazza Grande (dir. Misha Györik, Michael Beltrami)
Pietra tenera (dir. Aurélie Mertenat)
Prototype (dir. Blake Williams)
Sand und Blut (dir. Matthias Krepp, Angelika Spangel)
The Reagan Show (dir. Pacho Velez, Sierra Pettengill)
Willkommen in der Schweiz (dir. Sabine Gisiger)
Immortality For All: A Film Trilogy On Russian Cosmism (dir. Anton Vidokle)
Histoire(s) du cinéma
Cézanne, Dialogue avec Joachim Gasquet (dir. Jean-Marie Straub, Danièle Huillet)
Dalla nube alla resistenza (dir. Jean-Marie Straub, Danièle Huillet)
Klassenverhältnisse (dir. Jean-Marie Straub, Danièle Huillet)
Kommunisten (dir. Jean-Marie Straub)
Une visite au Louvre (dir. Jean-Marie Straub, Danièle Huillet)
Von heute auf morgen (dir. Jean-Marie Straub, Danièle Huillet)
L’Aquarium et la nation (dir. Jean-Marie Straub)
La Guerre d’Algérie! (dir. Jean-Marie Straub)
Der Bräutigam (dir. Jean-Marie Straub)
die Komödiantin und der Zuhälter (dir. Jean-Marie Straub)
En rachâchant (dir. Jean-Marie Straub, Danièle Huillet)
Incantati (dir. Jean-Marie Straub, Danièle Huillet)
Frost (dir. Sarunas Bartas)
Maps to the Stars (dir. David Cronenberg)
Strong Island (dir. Yance Ford)
La pazza gioia (dir. Paolo Virzì)
Cat People (dir. Paul Schrader)
The Pianist (dir. Roman Polanski)
The Thin Red Line (dir. Terrence Malick)
Der Kongress der Pinguine (dir. Hans-Ulrich Schlumpf)
Kleine Freiheit (dir. Hans-Ulrich Schlumpf)
47 works celebrating Jacques Tourneur.