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Celebrating 17 Years of Film.Biz.Fans.

In Theaters

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    War Costs: Andrzej Wajda's "Katyn"

    [An indieWIRE review from Reverse Shot.]

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    Clothing Time: Michael Selditch and Rob Tate's "Eleven Minutes"

    [An indieWIRE review from Reverse Shot.]

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    Beyond Words: Linas Phillips’ “Great Speeches from a Dying World”

    [An indieWIRE review from Reverse Shot.]

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    Brighton Beach Memoirs: James Gray’s “Two Lovers”

    [An indieWIRE review from Reverse Shot]

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    Vertical Disintegration: Matteo Garrone’s “Gomorrah”

    [An indieWIRE review from Reverse Shot.]

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    Multi-Dimensional: Henry Selick's "Coraline"

    [An indieWIRE review from Reverse Shot]

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    Scene It: Chiara Clemente's "Our City Dreams"

    [An indieWIRE review from Reverse Shot]

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    Give Up the Ghost: Milcho Manchevski’s “Shadows”

    [An indieWIRE review from Reverse Shot.]

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    Grindhouse: Brillante Mendoza’s “Serbis”

    [An indieWIRE review from Reverse Shot]

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    Living for the City: Barry Jenkins's "Medicine for Melancholy"

    The structure of Barry Jenkins's "Medicine for Melancholy" allows for a terrific twist right off the bat. Like many other modestly budgeted American indies, Jenkins's film follows two people getting to know each other, as they wander an expressive cityscape, over the course of one day -- aloofness gives way to intimacy, flirtation transitions into intellectual probing, daytime turns to night. The major difference here lies in the deployment sexual tension: this man and this woman aren't looking to sex as the endpoint, for this day is already the aftermath of an anonymous one-night-stand. The goal, as it were, has already been met; now if they...

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