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New Directors/New Films Unveils Complete Lineup, Includes ‘A Girl Walks Home Alone at Night’ and ‘Obvious Child’

New Directors/New Films Unveils Complete Lineup, Includes 'A Girl Walks Home Alone at Night' and 'Obvious Child'

The Film Society of Lincoln Center and MoMA have announced the complete lineup for their New Directors/New Films festival, running March 19-30. Buzzy Sundance titles are peppering the selection, with Ana Lily Amirpour’s Iranian vampire noir-Western “A Girl Walks Home Alone at Night” opening the fest, Nick Cave doc “20,000 Days on Earth” as the closer, and Gillian Robespierre’s hilarious and moving abortion rom-com “Obvious Child” as the centerpiece gala.

Check out the full lineup, below.


A Girl Walks Home Alone at Night

Ana Lily Amirpour, USA, 2014, DCP, 107 min.

This super-stylish and spellbinding Persian take on the
vampire genre doubles as a compact metaphor for the current state of Iran. Ana
Lily Amirpour’s debut feature guides us on a dreamlike walk on the wild side,
into the nocturnal and sparsely populated underworld of “Bad City,” an Iran of
the mind that nevertheless rings true. In a cool and brooding scenario that
involves just a handful of characters, an alluring female vampire stalks
potential victims with a judgmental eye—but isn’t immune to romantic desire
when it presents itself in the form of a young hunk who’s looking for a way out
of his dead-end existence. With to-die-for high-contrast black-and-white
cinematography and a sexy cast that oozes charisma, horror has seldom seemed so

Persian with English subtitles

Wednesday, March 19, 7:00pm & 8:00pm – MoMA



20,000 Days on Earth

Iain Forsyth & Jane Pollard, 2014, U.K., DCP, 95 min.

This unclassifiable immersion in the twilight world of
polymath musician Nick Cave is a portrait worthy of a great self-mythologizer.
In their feature debut, artists Iain Forsyth and Jane Pollard combine footage
of Cave and the Bad Seeds recording their 2013 album Push the Sky Away with
alternately telling and teasing scenes that fall somewhere between fact and
fiction. As Cave visits a shrink, digs into his archives, and reminisces with
friends (like Ray Winstone and Kylie Minogue) who pop up in the backseat of his
Jaguar, 20,000 Days on Earth evokes Godard’s One Plus One and Todd Haynes’s I’m
Not There in its playful deconstruction of stardom and identity. This
enthralling film offers a glimpse of an icon at his most exposed, even as it
adds another layer to his legend. A Drafthouse Films release.

Sunday, March 30, 7:00pm, 9:30pm – FSLC



Obvious Child

Gillian Robespierre, USA, 2014, DCP, 83 min.

A girl walks into a bar…and starts telling jokes about her
vagina and her boyfriend. But it turns out the joke’s on her: the boyfriend’s
been sleeping with her friend, and he takes advantage of her public, extremely
off-color verbal antics to dump her. Basting in misery (she’s also about to
lose her job) and alcohol (with a gay wing-man on hand to enable her), she
attempts to find solace in family, friends, more stand-up, and ultimately a
casual hookup. What comes next (no spoilers here) represents a brave new
frontier in comedy, and director Gillian Robespierre tackles it head-on, with
side splitting results. Truly a “choice” comedy, the film features a
star-making lead performance by Jenny Slate, who allows herself to laugh along
with the joke called life. An A24 release.

Thursday, March 27, 9:00pm – MoMA PS1

Saturday, March 29, 3:00pm – FSLC

The Babadook

Jennifer Kent, Australia, 2014, DCP, 95 min.

Young widow Amelia lives with her seven-year-old son,
Samuel, who seems to get odder by the day. His father’s death in an accident
when driving Amelia to the hospital to give birth to him may have something to
do with the boy’s unnerving behavior, which scares other children and perhaps
even his own mother. But when a sinister children’s book called Mister Babadook
mysteriously appears—and keeps reappearing—Amelia begins to wonder if there’s a
presence in the house more disturbed than her son. Jennifer Kent’s visually
stunning debut genuinely frightens us with the revelation that the things that
go bump in the night may be buried deep inside our psyches, not just in the
basement. An IFC Midnight release.

Satuday, March 22, 9:30pm – FSLC

Sunday, March 23, 9:00pm – MoMA



Joel Potrykus, USA, 2014, HDCam, 97 min.

Winner of the Locarno Film Festival’s 2012 Best Emerging
Director award for his debut feature Ape, Joel Potrykus makes a brazen leap
forward with his sophomore effort, Buzzard, a darkly comical look at a slacker
office temp who gets by on cold SpaghettiOs while getting off on stealing
refund checks from his employer. Filmed on a shoestring budget, often
guerrilla-style, in the writer-director’s native Grand Rapids and Detroit,
Michigan, Buzzard stars an unforgettable Joshua Burge as an angry young man
who, through a series of small, increasingly unhinged mutinies, sticks it to
corporate America on behalf of the great unsung 99%. Citing Alan Clarke, Jim
Jarmusch, Michael Haneke, and Kelly Reichardt among his influences, Potrykus
offers a barbaric yawp for truly independent regional American cinema.

Screening with:

Person to Person

Dustin Guy Defa, USA, 2014, HDCam, 18 min.

A man is baffled when he finds a beautiful woman sleeping on
his floor the morning after a party—and becomes even more so when she refuses
to leave.

Sunday, March 23, 6:15pm – FSLC

Monday, March 24, 8:30pm – MoMA


Dear White People

Justin Simien, USA, 2014, DCP, 108 min.

Welcome to Winchester University where, in the name of
diversity, the all-black residence hall Parker/Armstrong is about to be
dismantled. In the middle of an Ivy League campus, all racial hell breaks
loose: Samantha White (Tessa Thompson) uses her campus radio show to call out
the administration as well as her fellow students, while Afroed geek Lionel
(Tyler James Williams) writes for the all-white college newspaper hoping to
expose hypocrisy campus-wide. No one is safe in the culture wars that follow.
In his feature debut, Justin Simien riffs on groundbreaking films of the black
experience of a generation ago (yes, really) to playfully explore the gray
areas of race in America, and his satirical take challenges our ideas of
identity in our supposed post-racial world.

Friday, March 21, 9:00pm – FSLC

Sunday, March 23, 6:00pm – MoMA


The Double

Richard Ayoade, U.K., 2013, DCP, 93 min.

Richard Ayoade has built a loyal following with his
hilariously “off” characters, notably the one he plays in the TV series The IT
Crowd and those that inhabit his 2010 directorial debut, Submarine. His cerebral,
visually arresting follow-up, The Double, based on Dostoevsky’s 1846 novella,
enters slightly darker territory, and recalls the stylizations of Terry
Gilliam. Starring Jesse Eisenberg as both Simon James, a humdrum worker drone,
and his gregarious doppelgänger, James Simon, the film is set within both the
claustrophobic confines of Simon’s bureaucratic workplace and his paranoid
mind. Aided by a stellar supporting cast (including Wallace Shawn, Mia
Wasikowska, Sally Hawkins, Paddy Considine, and Chris O’Dowd), The Double
firmly establishes Ayoade as a leading voice in contemporary cinematic comedy.
A Magnolia Pictures release.

Monday, March 24, 9:00pm – FSLC

Saturday, March 29, 6:30pm – MoMA



Fish & Cat

Shahram Mokri, Iran, 2013, DCP, 134 min.

A bold experiment in perpetual motion with an enigmatic
time-warp narrative, Fish & Cat plays out as one continuous shot, with the
camera moving among a host of characters at a remote forest and a nearby lake.
Gradually subverting a gruesome premise drawn from a real-life case of a
backwoods restaurant that served human flesh, the film builds an atmosphere of
tension as a menacing pair descend on a campsite where a group of college kids
have gathered for a kite-flying festival. But as the camera doubles back and
crisscrosses between characters in real time, subtle space-time paradoxes
suggest that something bigger is going on. Brilliantly sustained, Fish &
Cat is further evidence of a new generation of filmmakers emerging in Iran.

Persian with English subtitles

Thursday, March 27, 6:00pm – MoMA

Friday, March 28, 9:00pm – FSLC



History of Fear (Historia del miedo)

Benjamín Naishtat, Argentina/Uruguay/France/Germany/Qatar,
2014, DCP, 79 min.

How strong does a fence need to be, or how loud must an
alarm blare, or how brightly should an open field be lit for us to feel safe?
The impossibility of a definitive answer to these kinds of questions lies at
the heart of Benjamín Naishtat’s unsettling feature debut. Set in an
economically destabilized Argentina, the film weaves stories of characters from
multiple social strata into an interlocking narrative of paranoia and fear. The
isolation of wealth and detachment from neighbors causes insecurities to
fester, feeding a “security consumption” culture and all its incumbent
paraphernalia. As we begin to recognize and sympathize with the situations
depicted, the most troubling realization of all arrives: we are doing it to

Spanish with English subtitles

Friday, March 21, 9:00pm – MoMA

Sunday, March 23, 9:15pm – FSLC


The Japanese Dog

Tudor Cristian Jurgiu, Romania, 2013, DCP, 86 min.

Offering a striking departure from the gallows humor of the
Romanian New Wave, Jurgiu’s Chekhovian The Japanese Dog instead pays loving
homage to the tender and gently comical family dramas of Yasujiro Ozu, Late
Spring and There Was a Father in particular. Victor Rebengiuc, a legendary
veteran of stage and screen, imbues the elderly Costache Moldu with a stoic,
yet fragile dignity as he reunites with his estranged son after losing his wife
and home in a devastating flood. Exquisitely attuned to the rhythms of nature
and rural life—and the melancholy beauty of transient things—The Japanese Dog
comes by its emotions honestly and poignantly.

Romanian with English subtitles

Friday, March 21, 6:30pm – FSLC

Sunday, March 23, 1:00pm – MoMA



Mouton (Sheep)

Gilles Deroo & Marianne Pistone, France, 2013, DCP, 100

Mouton (“Sheep”) is the nickname of Aurelien (David
Mérabet), who at 17 is granted independence from his troubled family and goes
off to live on his own in a seaside town. Hired as a chef’s assistant, Sheep
fits in well with his coworkers and makes new friends. Life is finally good.
Shot in 16mm, Gilles Deroo and Marianne Pistone’s first feature studies the
quotidian aspects of Mouton’s life through his eyes as well as those of the
town’s residents. Though fiction, the story is filmed as if it were a cinéma
vérité documentary, the camera wandering from scene to scene, character to
character. And just when audiences get into the groove of this town, something
happens that changes things irrevocably. So two acts, not equally divided,
bring us closer to the reality of living than many other films do, simply through
small moments and gestures. Winner of two prizes at the Locarno Film Festival,
Mouton is a lovely evocation of the pleasures and pain of small-town existence.

French with English subtitles

Thursday, March 20, 9:00pm – MoMA

Saturday, March 22, 6:30pm – FSLC

Of Horses and Men

Benedikt Erlingsson, Iceland/Germany, 2013, DCP, 80 min.

The debut feature by celebrated stage director Benedikt
Erlingsson announces the arrival of an innovative new cinematic voice. Set
almost exclusively outdoors amid stunning Icelandic landscapes, the film
features in equal parts a cast of exquisite short-legged Icelandic horses and
human characters—including the terrific Ingvar E. Sigurdsson and Charlotte
Bøving as meant-for-each-other but put-upon lovers—illuminating with great
inventive flair the relationship between man and beast. Several narrative
strands defined by the way each character relates to their horse recount a
variety of situations according to the particulars of the seasons, resulting in
a surprising and sometimes humorous symbiosis between horses, humans, and

Icelandic, Swedish, Spanish, Russian, and English with
English subtitles

Saturday, March 22, 6:15pm – MoMA

Monday, March 24, 6:30pm – FSLC



Quod Erat Demonstrandum

Andrei Gruzsniczki, Romania, 2013, DCP, 107 min.

Romania, mid-1980s. Sorin (Sorin Leoveanu), a gifted
mathematician whose career advancement is blocked because he is not a member of
the Communist party, comes to the attention of the security services after he
secretly arranges for an academic paper on his new theorem to be published in
an American journal. With practiced insidiousness, the Securitate start their
investigation, led by Voican (Florin Piersic, Jr.), who sets about pressuring
Sorin’s friends and colleagues to inform on him. Making a strong and engrossing
addition to a body of films from the New Romanian Cinema that delve into the
years of dictatorship, Andrei Gruzsniczki’s low-key but quietly tense drama of
compromise and betrayal re-creates the period with painstaking accuracy and
captures both the atmosphere of mistrustful cautiousness and resigned
discontent of its populace and the petty banality of the regime’s methods of
surveillance and control.

Romanian with English subtitles

Thursday, March 20, 9:00pm – FSLC

Saturday, March 22, 3:30pm – MoMA

Return to Homs

Talal Derki, Syria/Germany, 2013, DCP, 90 min.

As immersive a documentary of active war as has ever been
made, this unsparing account of the struggle for Homs follows—from August 2011
to August 2013—two close friends whose lives are completely altered when their
beloved city is bombed into a ghost town. We witness Basset, a charismatic
19-year-old soccer player and iconic performer of protest songs, and Ossama, a
24-year-old media activist who captures the revolution with his camera,
transform from peaceful protesters to armed resistance fighters. Derki’s
camera, placed inside bombed-out buildings, records insurgents defending their
city under siege as battles intensify, panicked civilians run for shelter, and
a rising number of comrades are injured or killed. The soundtrack features
Basset’s songs interrupted by gunfire and the occasional comment from the
director. The images speak for themselves.

Arabic with English subtitles

Tuesday, March 25, 6:15pm – MoMA

Wednesday, March 26, 9:00pm – FSLC



Salvation Army (L’Armée du salut)

Abdellah Taïa, France/Morocco/Switzerland, 2013, DCP, 81

Like the book it’s based on—Abdellah Taïa’s own 2006
landmark novel—the Moroccan author’s directorial debut is a bracing, deeply
personal account of a young gay man’s awakening that avoids both cliché and the
trappings of autobiography. First seen as a 15-year-old, Abdellah (Saïd Mrini)
habitually sneaks away from his family’s crowded Casablanca home to engage in
sexual trysts with random men in abandoned buildings. A decade later, we find
Abdellah (now played by Karim Ait M’hand) on scholarship in Geneva, involved
with an older Swiss professor (Frédéric Landenberg). With a clear-eyed
approach, devoid of sentimentality, this wholly surprising bildungsfilm
explores what it means to be an outsider, and with the help of renowned
cinematographer Agnès Godard, Taïa finds a film language all his own: at once
rigorous and poetic, worthy of Bresson in its concreteness and lucidity.

Thursday, March 27, 6:30pm – FSLC

Friday, March 28, 6:15pm – MoMA



Fabio Grassadonia & Antonio Piazza, Italy/France, 2013,
DCP, 104 min.

In their supremely assured debut feature, writer-directors
Fabio Grassadonia and Antonio Piazza breathe new life into the time-honored
genre of the Mafia thriller. While hunting down a rival who has ordered a hit
on him, the titular gangster (a smoldering Saleh Bakri) invades a Palermo home,
only to discover his prey’s blind sister, Rita (Sara Serraiocco), in the
basement. The nail-biting, magnificently orchestrated game of cat-and-mouse
that ensues, with its evocative use of sound, darkness, and offscreen space,
sets the tone for the rest of this richly atmospheric work. When Rita’s sight
is restored—from shock or perhaps some kind of miracle—Salvo is left to
determine the fate of his prisoner turned love interest. Winner of the top two
prizes at the 2013 Cannes Critics’ Week, Salvo tweaks the conventions of its
genre without betraying them and, in the grand tradition of Jean-Pierre
Melville, wrings blindsiding depths of emotion from the sparest of means. A
Film Movement release.

Saturday, March 29, 9:00pm – MoMA

Sunday, March 30, 4:00pm – FSLC


She’s Lost Control

Anja Marquardt, 2014, USA, DCP, 90 min.

In a world of increasing layers between people, intimacy is
perhaps the most elusive ingredient of human interaction. A person can either
take the plunge and emotionally connect with their OS (à la Spike Jonze’s Her)
or, in the case of She’s Lost Control, psychotherapists can refer patients to
sex surrogates. Engaging in that line of work, NYC-based Ronah (fearlessly
played by Brooke Bloom) puts to use her considerable psych-studies experience,
as well as her natural solicitous warmth, to engage in close but professional
relationships. Until, that is, she meets Johnny, and her already fraying
control dissolves the thin line between professional and personal intimacy.
First-time feature director Anja Marquardt, however, never loses control,
delivering a stylish, deeply unnerving, and profound film on an intangible
modern issue.

Saturday, March 29, 9:00pm – FSLC

Sunday, March 30, 4:30pm – MoMA


A Spell to Ward Off the Darkness

Ben Rivers & Ben Russell, Estonia/France, 2013, DCP, 98

As collaborators, Ben Rivers and Ben Russell, two intrepid
and nomadic talents of experimental film and art, have created one of the most
bewitching cinematic experiences to come along in a great while. In A Spell to
Ward Off the Darkness, Robert A.A. Lowe, the celebrated musician behind Lichens
and Om, gives a strangely affecting, perhaps even trance-inducing performance
as the film’s Parsifal figure, a quixotic man who embarks on a quest for
utopia—the holy grail of infinite truth, self-knowledge, and spiritual
connectedness. He finds some measure of it in three seemingly disparate
contexts: in a small collective community on a remote Estonian island, in
isolation in the northern Finnish wilderness, and onstage fronting a black
metal band in Norway. While his experience seems to be a perpetual one of home,
exile, and return, for us, it is purely magical. A KimStim release.

Saturday, March 22, 9:00pm – MoMA

Tuesday, March 25, 6:30pm – FSLC



Stop the Pounding Heart

Roberto Minervini, Belgium/Italy/USA, 2013, DCP, 100 min.

Sara (Sara Carlson, playing herself) is part of a devout
Christian goat-farming family with 12 children, all home-schooled and raised
with strict moral guidance from the Scriptures. Set in a rural community that
has remained isolated from technological advances and lifestyle influence—no
phones, TVs, computers, or drunken-teen brawls—the subtly narrative film
follows Sara and Colby, two 14-year-olds with vastly different backgrounds who
are quietly drawn to each other. In Minervini’s intimate documentary-style
portrait—the third in the Italian-born filmmaker’s Texas trilogy—Sara’s
commitment to her faith is never questioned. It’s the power of the director’s
nonintrusive handheld-camera style that reveals his protagonist’s spiritual and
emotional inner turmoil about her place in a faith that requires women to be
subservient to their fathers before becoming their husbands’ helpers. By also
presenting an authentic, impartial portrayal of the Texas Bible Belt, Minervini
allows humanity and complexity behind the stereotypes to show through.

Friday, March 21, 6:15pm – MoMA

Sunday, March 23, 3:30pm – FSLC



Story of My Death (Història de la meva mort)

Albert Serra, Spain/France, 2013, 35mm, 148 min.

No one else working in movies today makes anything remotely
like the Catalan maverick Albert Serra, a cerebral oddball and improbable
master of cinematic antiquity. Known for his unconventional adaptations of
Cervantes’s Don Quixote (Honor of the Knights) and the Biblical parable of the
Three Kings (Birdsong), Serra here stages the 18th-century passage from
rationalism to romanticism as a tussle between two figures of legend, Casanova
and Dracula. Against a backdrop of candlelit conversation and earthy carnality,
Serra sets in motion contrasting ideas about pleasure and desire, alternating
between winding philosophical dialogue and wordless passages of savage beauty.
Winner of the top prize at the 2013 Locarno Film Festival, the film is both a
painterly feast for the eyes, abounding with art-historical allusions, and an
idiosyncratic, self-aware revamping of the costume melodrama.

Catalan with English subtitles

Wednesday, March 26, 9:00pm – MoMA

Saturday, March 29, 5:30pm – FSLC


The Strange Color of Your Body’s Tears

Hélène Cattet & Bruno Forzani,
Belgium/France/Luxembourg, 2013, DCP, 102 min.

Deepening and amplifying their super-fetishistic remix of
Italian giallo and horror tropes in Amer (ND/NF 2010), Hélène Cattet and Bruno
Forzani here create a delirious and increasingly baroque pastiche of the trance
film and cinéma fantastique—and then push it to breaking point. Returning home
from a business trip, Dan (Klaus Tange) finds that his wife has disappeared.
When the police are of no help, he begins to obsessively investigate their
singular and increasingly surreal art deco apartment building in search of
clues to her whereabouts. Traditional narrative dissolves into mise en abyme in
this kaleidoscopic, vertiginous adventure in sound and image, sadism and
eroticism, and the real and the imagined. The unwary may be shaken up by the
Belgian duo’s overpowering and percussive stylistic shocks, but in this
haunted-house movie, one thing’s for sure: the eyes have it. A Strand Releasing

French and Dutch with English subtitles

Friday, March 28, 9:00pm – MoMA

Sunday, March 30, 1:15pm – FSLC


The Strange Little Cat (Das merkwürdige Kätzchen)

Ramon Zürcher, Germany, 2013, DCP, 72 min.

In the hands of masters like Jacques Tati, Lucrecia Martel,
and Chantal Akerman, cinema that at first appears to merely observe and record
is in fact masking intricately constructed commentaries, built from seemingly
mundane experiences. In the case of The Strange Little Cat, an extended
family-dinner gathering becomes an exquisitely layered confection ready for
writer-director Ramon Zürcher’s razor-sharp slicing. A mother, desperately
trying not to implode, and her youngest daughter, who explodes constantly, form
the poles between which sons and daughters, aunts and uncles, cats and cousins
weave in and around each other in the tight domestic space of a middle-class Berlin
flat. Fans of Béla Tarr and Franz Kafka will find much to love, as will
devotees of the Berlin School, of which this film represents a third-generation
evolution. This comedic examination of the everyday has been captivating
audiences since its premiere at the 2013 Berlin Film Festival. A KimStim

German with English subtitles

Tuesday, March 25, 9:00pm – MoMA

Wednesday, March 26, 6:30pm – FSLC


To Kill a Man

Alejandro Fernández Almendras, Chile/France, 2014, DCP, 82

Bullying is a phenomenon that doesn’t just take place in the
schoolyard. In Alejandro Almendras’s raw, unnerving psychological thriller,
bullies and their victims live side by side in a working-class neighborhood.
Passive Jorge tries to ignore the cruel taunting of some local thugs who would
be considered juvenile delinquents if they weren’t full-grown adults. But when
the worst of the bunch steals Jorge’s insulin syringe, and his son winds up in
the hospital with a gunshot wound after attempting to get it back, Jorge and
his wife seek redress legally—to no avail. The family is humiliated again and
again, and when his teenage daughter is sexually threatened, Jorge, pushed over
the edge, decides to take matters into his own hands. A Film Movement release.

Spanish with English subtitles

Thursday, March 20, 6:30pm – FSLC

Sunday, March 23, 3:30pm – MoMA


Trap Street (Shuiyin Jie)

Vivian Qu, China, 2013, DCP, 94 min.

Notions of surveillance and observation are turned inside
out in Trap Street, producer Vivian Qu’s first turn as a director. While
surveying city streets for a digital-mapping company, engineer Qiuming catches
sight of Lifen, a beautiful young woman. Immediately smitten, he follows her to
a street that doesn’t appear on any map or even a GPS. In between his other
gigs—installing security cameras, sweeping hotel rooms for electronic bugs—he
tries to get to know this alluring stranger. And he does—sort of. But as he
tries to learn more about her, events take on disturbing overtones, and the
mystery, as well as the paranoia, deepens from there. Noir in tone, and a great
representation of the newest generation of Chinese filmmakers, Trap Street is a
bold story of who is really watching who that, while firmly embedded in the
current cultural context of China, could happen to any one of us.

Mandarin with English subtitles

Friday, March 28, 6:30pm – FSLC

Saturday, March 29, 4:00pm – MoMA


The Vanquishing of the Witch Baba Yaga

Jessica Oreck, USA/Russia/Ukraine/Poland, 2013, HDCam, 73

Deep in the forest, wedged in cracks in the bark and under
moss-covered rocks, memories and myths are hidden. These subconscious tales and
reminiscences, drawn from the natural world, inform the societies we build.
Jessica Oreck’s fantastical work combines animation, traditional storytelling,
and contemporary nonfiction filmmaking styles to recount the Slavic folktale of
the frightful Baba Yaga, a witch said to live in a woodland hut perched on
chicken legs who roasts her guests for dinner. But as modern conflicts and
scourges encroached, and their refugees fled to the forest, the implications of
her presence began to shift. An impressive contemporary allegory on progress,
the past, and the power of nature.

Saturday, March 22, 1:30pm – FSLC

Monday, March 24, 6:15pm – MoMA


We Come as Friends

Hubert Sauper, France/Austria, 2014, DCP, 110 min.

Hubert Sauper’s masterful exploration of modern colonialism,
with war-ravaged Sudan as a focus, offers devastating insights into the most
premeditated, casually insidious ways of taking possession of Africa today. The
scenarios of clueless Texan missionaries, shallow UN case workers, and Chinese
oil-company CEOs living in gated communities while polluting the local drinking
water are like a collage of postcards from hell. It takes a particularly gifted
filmmaker to construct from these horrors something that can also engage one’s
sense of beauty; with an air of science fiction aided by otherworldly scenes
captured from the self-manufactured flying machine in which Sauper and his
co-pilot arrive in Africa, the documentarian has created an indelible and
righteously alarming second film in a planned trilogy that began with the
Oscar-nominated Darwin’s Nightmare.

English, Chinese, Arabic, Ma’di, and Toposa with English

Thursday, March 20, 6:15pm – MoMA

Saturday, March 22, 3:45pm – FSLC



Tom Shoval, Israel/Germany, 2013, DCP, 107 min.

Tom Shoval’s gripping, haunting feature debut depicts the
ill-advised kidnapping scheme of two Israeli brothers (real-life siblings Eitan
and David Cunio) from preparation to aftermath. With their father’s
unemployment threatening the stability of their comfortable middle-class
existence, older brother Yaki takes advantage of his recently acquired assault
rifle, courtesy of his compulsory military service, to put into action a plan
inspired equally by desperation and a lifelong diet of violent mainstream
American cinema. But the brothers might have bitten off more than they can
chew: it’s Shabbat, and their victim’s wealthy orthodox family won’t pick up
the phone to take the ransom call. This sharply observed study of familial
attachment and fraternal psychology broadens into a tough-minded generational
portrait that subtly addresses many aspects of contemporary Israeli life, from
the role of the military to the recent economic protests to the enduring fault
lines of class and gender.

Hebrew with English subtitles

Screening with:

Shlomo X (שלמה

Ruth Patir, Israel, 2013, HDCam, 9 min.

A car mechanic is at the nexus between fictional and
real-life stories. 

Tuesday, March 25, 9:15pm – FSLC

Wednesday, March 26, 6:00pm – MoMA



ND/NF Shorts Program 1 (76 min.)

Saturday, March 22, 1:00pm – MoMA

Sunday, March 23, 1:15pm – FSLC


At the Door (An den Tür)

Miriam Bliese, Germany, 2013, DCP, 5 min.

A divorced couple rediscovers a long-lost intimacy via an
apartment-building intercom.

German with English subtitles


You Can’t Do Everything at Once, But You Can Leave
Everything at Once (Man kann nicht alles auf einmal tun, aber man kann alles
auf einmal lassen)

Marie-Elsa Sgualdo, Switzerland, 2013, DCP, 15 min.

Archival footage stands in for childhood memories, with
family history unfolding like a tall tale.

French with English subtitles


Face in the Crowd

Alex Prager, USA, 2013, HDCam, 12 min.

Characters appearing in intimate interviews and ethereal
crowd scenes seem both anonymous and oddly familiar.



Frances Bodomo, USA, 2014, HDCam, 14 min.

The story of the first Afronaut, a 17-year-old Zambian girl
training for a moon launch.


The Island (La isla)

Dominga Sotomayor and Katarzyna Klimkiewicz,
Chile/Poland/Denmark, 2013, DCP, 30 min.

The mood of a family gathering on a beautiful island darkens
when one of the guests fails to show up.

Spanish with English subtitles



ND/NF Shorts Program 2 (72 min.)

Saturday, March 29, 12:30pm – FSLC

Sunday, March 30, 2:00pm – MoMA


Landscape (Paisaje)

Matias Umpierrez, Argentina, 2013, DCP, 13 min.

In the aftermath of tragedy, a woman seeks solace in nature.

Spanish with English subtitles


The Wild (Wildnis)

Helena Wittmann, Germany, 2013, DCP, 12 min.

The quiet home of an elderly couple comes alive through
projections of animals-in-the-wild footage shot by the husband.

German with English subtitles


Greenland Unrealised

Dania Reymond, France/Taiwan, 2012, HDCam, 9 min.

An unlikely collision of animation, the Arctic, and

Bunun with English subtitles


Pieces (Anacos)

Xacio Baño, Spain, 2012, DCP, 7 min.

A young man assembles fragments of his mother’s life.

Galician with English subtitles


Three, Two

Sarah-Violet Bliss, USA, 2013, HDCam, 2 min.

A mother and daughter come home to a disturbing surprise.


The Reaper (La Parka)

Gabriel Serra, Mexico, 2013, DCP, 29 min.

An exploration of a man’s relationship with death, and what
one must do to live.

Spanish with English subtitles

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