In the first narrative feature from The Wolfpack director Crystal Moselle, Camille, an introverted teenage skateboarder (newcomer Rachelle Vinberg) from Long Island, meets and befriends an all-girl, New York City-based skateboarding crew called Skate Kitchen. She falls in with the in-crowd, has a falling-out with her mother, and falls for a mysterious skateboarder guy (Jaden Smith), but a relationship with him proves to be trickier to navigate than a kickflip. Writer/director Crystal Moselle immersed herself in the lives of the skater girls and worked closely with them, resulting in the film's authenticity, which combines poetic, atmospheric filmmaking and hypnotic skating sequences. SKATE KITCHEN precisely captures the experience of women in male-dominated spaces and tells a story of a girl who learns the importance of camaraderie and self-discovery.
With his second feature, a towering epic that took him years to complete, Andrei Tarkovsky waded deep into the past and emerged with a visionary masterwork. Threading together several self-contained episodes, the filmmaker traces the renowned icon painter Andrei Rublev through the harsh realities of fifteenth-century Russian life, vividly conjuring the dark and otherworldly atmosphere of the age: a primitive hot-air balloon takes to the sky, snow falls inside an unfinished church, naked pagans celebrate the midsummer solstice, a young man oversees the casting of a gigantic bell.
Appearing here in Tarkovsky’s preferred 183-minute cut, as well as the version that was originally censored by Soviet authorities, Andrei Rublev is an arresting meditation on art, faith, and endurance, and a powerful reflection on expressive constraints in the director’s own time.
In the sleepy town of Luneberg, Germany, most days are quiet and uneventful. But one morning in September 2014, a 93 year-old man was charged with accessory to murder...of 300,000 people.
Seventy years earlier, Oskar Gröning was an accountant at Auschwitz, the infamous concentration camp where more than 1 million people were murdered by the Nazis. As men, women and children spilled out from overcrowded trains, Gröning’s job was to catalogue their valuables – belongings, he said, ͞they no longer needed͟.
After the war, Germany had little interest in prosecuting its own and the vast majority of perpetrators went unpunished. With a shift in legal thinking, Germany is now using a wider net to go after SS guards, complicit cogs in Hitler’s killing machine. But by now, most have either died or are too sick to face prosecution. Oskar Gröning, however, is alive and healthy and deemed fit to stand trial.
The Accountant of Auschwitz is a compelling look at the race against time to prosecute the last living Nazi war criminals. The film features interviews with key players from the post-war trials and with Auschwitz survivors, sent to the camp as children, who testified at Gröning’s trial. As we witness this final chapter of the Nazi war trials, The Accountant of Auschwitz asks if it’s too little, too late or if it sends a powerful message to future generations. Is Oskar Gröning an accomplice to the biggest mass murder in history, or is Germany going after him to make up for the mistakes of its past?
NICO, 1988 follows the singer-songwriter, approaching 50, leading a solitary existence in Manchester, far from her 60s glam days as a Warhol superstar and celebrated vocalist for cult band The Velvet Underground. Her life and career on the fringes, Nico's new manager Richard convinces her to hit the road again and tour Europe to promote her latest album. Struggling with her demons and the consequences of a muddled life, she longs to rebuild a relationship with her son, whose custody she lost long ago. A brave and uncompromising musician, Nico's story is the story of a rebirth: of an artist, a mother, and the woman behind the icon.
Montreal is internationally renowned for its video-game industry, especially through Ubisoft, which has its largest division in the metropolis, where some of the business’ biggest megaproductions are created. Much like the Hollywood method, video games today are developed over several years, costing tens of millions of dollars and employing hundreds of passionate people. This is one reason why studios are reluctant to take risks, and would rather keep producing sequels to successful franchises. But sometimes, at the company’s great risk, an artist comes up with a fresh idea that’s never been exploited and attempts to make his mark on the market.
PLAYING HARD primarily focuses on Jason VandenBerghe, one of those dreamers, who has spent years trying to finance an ambitious project that is supposed to revolutionize the combat systems in video games. To help him concretize his vision, he’s accompanied by Stephane Cardin, the director of a recently failed project who is now giving everything he’s got to this game, which will eventually be known as FOR HONOR. Finally, Luc Duchaine is in charge of making sure the game is a hit with fans, a task that is sometimes detrimental to his health and family life. The documentary PLAYING HARD gives us exclusive access to this four-year undertaking and follows the creation of FOR HONOR from VandenBerghe’s early pitches to its release date, with over 400 people working on the game in between. Filmmaker Jean-Simon Chartier is mainly interested in the human aspect of these large productions, presenting us inspiring individuals who are the impersonation of determination through all the stress and pressure inherent of such a competitive industry. – Translation: Guillaume Desbiens for Fantasia
Us three. Us brothers. Us kings, inseparable. Three boys tear through their childhood, in the midst of their young parents’ volatile love that makes and unmakes the family many times over. While Manny and Joel grow into versions of their loving and unpredictable father, Ma seeks to shelter her youngest, Jonah, in the cocoon of home. More sensitive and conscious than his older siblings, Jonah increasingly embraces an imagined world all his own.
With a screenplay by Dan Kitrosser and Jeremiah Zagar based on the celebrated Justin Torres novel, We the Animals is a visceral coming-of-age story propelled by layered performances from its astounding cast –including three talented, young first-time actors –and stunning animated sequences which bring Jonah’s torn inner world to life. Drawing from his documentary background, director Jeremiah Zagar creates an immersive portrait of working class family life and brotherhood.
Belgian filmmakers Hélène Cattet and Bruno Forzani trade in the crushed velvet and creeping shadows of their giallo-worshiping first two films (Amer, The Strange Color of Your Body's Tears) for blistering sun, creaking leather and raining bullets in this glorious homage to 1970s Italian crime films. After stealing a truckload of gold bars, a gang of thieves absconds to the ruins of a remote village perched on the cliffs of the Mediterranean. Home to a reclusive yet hypersexual artist and her motley crew of family and admirers, it seems like a perfect hideout. But when two cops roll up on motorcycles to investigate, the hamlet erupts into a hallucinatory battlefield as both sides engage in an all-day, all-night firefight rife with double-crosses and dripping with blood.
Based on a classic pulp novel by Jean-Patrick Manchette and featuring music by Ennio Morricone, Let the Corpses Tan is a deliriously stylish, cinematic fever dream that will slamfire your senses like buckshot to the brain.