Six more not to miss: In The Miners’ Hymns, Bill Morrison elegantly arranges archival footage to eulogize a lost way of life for English laborers and their communities, while Nancy Buirski combines vintage footage with reflective interviews to tell The Loving Story, the interracial romance that defeated America’s miscegenation laws. Turn Me On, Goddammit is a Norwegian coming-of-age comedy about a sex-ready teen girl, while She Monkeys refracts those same life changes through a moody thriller; and as doc The Bully Project gives a gut-wrenching eyewitness account of the evil that today’s American school kids do to one another, Peter Mullan’s NEDS is an unsparing fictional journey back to the ceaseless corporal brutality of the Glaswegian ’70s. Mullan offers no false hope in the end, but rather a lovely little allegorical flourish, a brief moment of beauty after all that horror—which is the least we can ask for from life, or film festivals.

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Exhuming its once-thriving film culture in this elegantly constructed memory machine, Cinema Komunisto is a gem of nostalgic-emotional documentary filmmaking, exploring the myths of a country that no longer exist (Yugoslavia), asking a question if Cinema can forge a country?

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The Tribeca FF was--and continues to be--(a) ego-flexing on Robt. DeNiro's part; and (b) a complete waste of time for anyone who remotely cares about film.The annual Lincoln Center events (NYFF; New Directors; etc.) serve all and every cineaste need during any given calendar year. Tribeca is Toronto star ****ing minus the fest's true raison d'etre (a launch for the upcoming awards season).


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