For this monthly staff feature we came to the conclusion that because not everyone on the staff has been to the same festivals, thus having the opportunities to see the same films, that each writer from the staff would list their own individual Top 5 Films of 2013 (So Far). You can tell just by looking at our lists that there is a wide range of quality films that have been released at the halfway mark of 2013. While we wait to see what upcoming gems 2013 will bring us, here are the best films of the year so far.

Blake’s Top 5

2013, what a year you’ve been so far for us film going folk. You’ve made me cry (A Haunted House, Aftershock), you’ve made me laugh (Warm Bodies in a good way, A Good Day to Die Hard in a bad way) and you’ve had me cheering from the rafters (Gareth Evan’s Safe Haven, Fast and Furious 6). You were better than the first half of 2012 so keep up the good work. Picking my favorite 5 films of the year so far has proven to be a malicious act. I’ve seen some great films. There are easily more than five and since I can only have that amount, I shall list what barely misses here. These are my, as Roger Ebert would call them, Special Jury winners: Graceland, The Silence, The Act of Killing, The Place Beyond the Pines, and Side Effects.

#1  Spring Breakers

#2  Reality

#3  The Hunt

#4  Upstream Color

#5  The Lords of Salem

Bernard’s Top 5

My top two films of the year so far are interchangeable, as they’re both brilliant, but in different ways. Before Midnight is nearly flawless—I was floored by every facet of it. Sarah Polley’s documentary/family-drama/soap-opera/whodunit, Stories We Tell, is a Frankenstein’s monster of personal filmmaking goodness that exists outside any genre. These two films are absolute beasts, and there are miles between them and the rest of the movies I saw this year. That said, it would be amazing if a film in the last half of 2013 can top them somehow. Fingers crossed!

#1  Before Midnight

#2  Stories We Tell

#3  Simon Killer

#4  You’re Next

#5  Like Someone In Love

Amy’s Top 5

I had the opportunity to see so many great films at this year’s Sundance London Film Festival, but only a few have so far have had confirmed releases, In a World will be heading to the UK this September. It was a tremendous comedy written, directed and performed by Lake Bell – I would recommend anyone to go see it when it hits cinemas! I also had the chance to see Mud at the festival and loved every minute of it. Stoker, (directed by Chan-wook Park, Oldboy) was a phenomenal film – its stunning visuals and intense storyline had me utterly gripped throughout, sincerely recommend for those who like Park’s style. Warm Bodies was a great film that turned our expectations of a zombie film upside down, making the dead come alive and love again. I really did not think I would take to Sightseers as much as I did, most of the film I was thinking – “what the hell is going on” – but the last few scenes had me in stitches. Looking forward to seeing: This is the End, The East, and Before Midnight.

#1  In a World

#2  Mud

#3  Stoker

#4  Warm Bodies

#5  Sightseers

CJ’s Top 5

I’ve never seen a year where my two favourite films (at this time) are documentaries, let alone ones that push the capabilities of documentary filmmaking and cinema itself into new directions. I had an internal debate about my placement of both films on this list. Do I give the #1 spot to the film with the most societal and moral impact, or the film with the most cinematic impact? In the end I couldn’t choose, so I let them both share the top spot. The other three are all terrific, and Bernard has explained enough why Before Midnight is great, but these first two shook me to the core. Other films that barely made the cut: Spring Breakers, Side Effects, The Place Beyond The Pines, Valentine Road.

#1 (tie)  Leviathan and The Act of Killing

#3  Before Midnight

#4  Beyond The Hills

#5  Hors Satan

Ananda’s Top 5

Perhaps it’s the celebration of the end of a long recession, but of 2013’s film offerings thus far, the ones that have seemed strongest to me are all of a lighter fare. Granted I haven’t seen A Hijacking, Mud, or The Stories We Tell (which would probably make this list because I have a huge girl-crush on Sarah Polley). I can wait for the fall to indulge in the heavier stuff, including all those festival films not yet released (Blue is the Warmest Color, holler). But sometimes lighter is better. From the bottom, This is the End is the best buddies-in-a-crises film I’ve seen since Shaun of the Dead and had my abs hurting for days. A three-quel on my list? I’m just as shocked, but when Hollywood’s wittiest writer, Shane Black, unites with the world’s wittiest superhero, Iron Man (played by the man Black was born to write for, Robert Downey Jr.) it’s a match made in Marvel heaven. Upstream Color isn’t easier to follow than Shane Carruth’s first film Primer, but was much easier to accept and had a lovely hum to it. It’s no secret I’m a sucker for films of the dark and twisty variety, and Stoker manages to be elegant with its seductive spookiness. Frances Ha, at the top of my list, stroke some realistic chords with this urban-dwelling 20-something, and Greta Gerwig shines as she makes what could be an aimless hipster, a relatable heroine. All in all, 2013 has me feeling rather positive thus far. Honorable Mentions: Side Effects (The twists and pacing of Ocean’s 11 with the gravitas of Contagion) and since we’re keeping it light with my list Warm Bodies successfully paired young love and zombies to my great delight.

#1  Frances Ha

#2  Stoker

#3  Upstream Color

#4  Iron Man 3

#5  This is the End

Dustin’s Top 5

It is not all that surprising that three of the top five films I have seen so far in 2013 had played at this year’s Cannes Film Festival. But only one of those (Nebraska) is allowed to be on this list as the other two (Like Father, Like Son and The Great Beauty) do not meet our prerequisite of having a hard 2013 U.S. release date yet. But because 2013 has been a solid year for films so far, it was not difficult to find two other films to take their place. And it will only get better during the fall festival circuit and awards season. Though I saw Ulrich Seidl’s hard-to-watch yet stimulating Paradise: Love last year, it is still the top film for me with a 2013 release date. A few films that just missed the cut for me were: To The Wonder, 28 Hotel Rooms, and The Act of Killing. I should also include a few films that I have not seen yet: Mud, Fruitvale Station, Before Midnight, and Post Tenebras Lux.

#1  Paradise: Love

#2  The Place Beyond the Pines

#3  Upstream Color

#4  Frances Ha

#5  Nebraska

Faith and love tragically clash in Beyond the Hills, Cristian Mungiu’s latest film since his Palme D’Or-winning 4 Months 3 Weeks 2 Days. Mungiu’s film opens with the reunion of two friends: Voichita (Cosmina Stratan) and Alina (Cristina Flutur). Voichita and Alina grew up together at an orphanage before going their separate ways. Alina moved to Germany while Voichita joined an Orthodox monastery to become a nun. The dynamics of their friendship are made clear in the opening scene; Alina recklessly runs along the train tracks to tearfully embrace her friend, while Voichita complains about being embarrassed.

Alina’s purpose for her visit is to take Voichita to Germany so they can work together, but the plan falls apart once the monastery’s Father (Valeriu Andriuţǎ) finds out about the plan. He tells Voichita that if she leaves there’s no coming back to the monastery. The Father’s decision makes Voichita refuse to leave with Alina. From the very beginning it’s obvious that Alina is madly in love with her friend (Mungiu hints that the two might have been lovers in the past, but it’s never confirmed), and the news they won’t be running off together triggers a breakdown. Alina’s behaviour becomes violent and irrational as she fights the other nuns and tries to throw herself into a well. The church tries to find someone more capable who can take care of Alina but they’re repeatedly turned away, leaving them with seemingly no other option but to take care of the problem themselves.

Mungiu’s sense of naturalism, combined with his eye for terrific compositions, help support his mostly subdued script. The brilliance of Mungiu’s screenplay, based on a true story that was also adapted into a play, is how effortlessly his major themes rise out of the film’s events. Voichita and Alina, having no family or friends to count on, are representative of people at the bottom rung of society’s ladder. Voichita may have found her answer through religion, but Alina is constantly cast aside from the different institutions she’s brought to. The church initially doesn’t want her, knowing that she needs proper help; the hospital is too busy to find out what’s ailing her; her foster parents have no room for her anymore. Once the film reaches its inevitable conclusion and the finger of blame starts getting pointed, it’s clear that fault lies with the failure of these institutions rather than any specific person. Sadly, the people who do the most harm are those with the best intentions.

With a running time of 150 minutes, Beyond the Hills certainly has scenes which earn the film’s status as a slow burner, but the length and Mungiu’s attention to detail have a cumulative effect. Everyone is a victim of circumstance, trying their best to function within a broken system. Mungiu’s morally grey ending makes sure that the question being asked is “Why did this happen?” as opposed to “Who is responsible?” The fact that Mungiu pulls this off so naturally is what makes Beyond the Hills a near-masterpiece.

I started out my forth day at the festival with Once Upon A Time Was I, Veronica which I purposely went in without knowing a whole lot about it. Part of what makes film festivals fun is to walk into something and like it completely surprise you when it blows you away. However, this did not happen here. Once Upon A Time Was I, Veronica was an uninspired character study that never seemed to click. This is likely due to the fact that you never really care much about the main character. We follow Veronica around after she just received her first job out of medical school. Turns out the job is not as rewarding as she thought it would be which only adds to her already insecure state of being. It seemed content with playing it by the books aside from the fact here didn’t feel like there was a climax what so ever. There was really nothing about this that would make it stick out as a memorable film.

RATING: 6/10

Once Upon A Time Was I, Veronica

My last film of the day was Beyond The Hills by Cristian Mungiu whose last film (4 Months, 3 Weeks and 2 Days) took the top prize at Cannes five years ago. Mungiu also picked up a couple awards from Cannes for this film including Prix du Scenario (Best Screenplay) and Prix d’interpretation feminine (Best Actress) in which both of the leads tied for.

It begins as Alina comes back to meet long time friend Voichita who is now a sister at a local orthodox monastery. When the two meet there is a sense that they have a deeper connection than just two friends do. From there Mungiu slowly reveals more about their past which due to Voichita’s circumstances of being devout to God leads to some haunting scenes.

Beyond The Hills is not an easy watch as it demands your attention to subtle detail for 2 and half hours. The dialog heavy film starts to pick up a little bit in the last 40 minutes but tension was felt the entire time. The film was well made and incredibly well shot which included several long takes. I think it would have benefited from a score to pair with the film as there was almost none present. It is one of those films that if watched again you would likely pick up on small but important details you missed the first time through.

RATING: 6/10

Beyond The Hills

COMING UP: My last day at the festival will conclude with Kris Swanberg’s (wife of indie director Joe Swanberg) Empire Builder and the 60’s rock ‘n roll inspired Not Fade Away.

Recap of some of my Tweets from today:

Follow @WayTooIndie for full coverage of the 2012 Chicago International Film Festival!

My first film of Day 4 will be ONCE UPON A TIME WAS I, VERONCIA. Don’t know a lot about it but excited nonetheless.

— Way Too Indie (@WayTooIndie) October 15, 2012

Nice day for some street saxophone playing. #Chicago twitter.com/WayTooIndie/st…

— Way Too Indie (@WayTooIndie) October 15, 2012

You know you are at #ChiFilmFest48 when you find it strange when a film is not subtitled. @chifilmfest

— Way Too Indie (@WayTooIndie) October 16, 2012

ONCE UPON A TIME WAS I, VERONICA was nothing to write home about. Felt uninspired.

— Way Too Indie (@WayTooIndie) October 16, 2012

The line for BEYOND THE HILLS crazy long. Needless to say it is going to packed in that theater. #ChiFilmFest48

— Way Too Indie (@WayTooIndie) October 16, 2012

BEYOND THE HILLS is not an easy watch as it demands your attention to subtle detail for 2 and half hours. #ChiFilmFest48

— Way Too Indie (@WayTooIndie) October 16, 2012

Fall is a great time to watch films. The combination of the days beginning to get colder and the nights getting longer makes the perfect excuse for staying inside to watch films. Festival season is now in full swing which means award season will be following just around the corner. So what better place to enjoy a film festival in the fall than the Windy City of Chicago?

The Chicago International Film Festival (CIFF) is a two week film festival that prides itself on the abundant offerings of world cinema. During the five and a half days I will be there 80% percent of the films I am scheduled to see are foreign. More than half of those foreign films premiered overseas at the prestigious Cannes Film Festival this year. Generally what works best for me is going into films without a whole lot about it, so that is what I will be doing for most of what I see. For the majority of the films I have not even seen the full trailer.

Below are the films that I am planning to cover for Way Too Indie while I am there. However, this is slightly tentative depending on press screenings that may pop up but for the most part this will be it. In addition to festival coverage I will be posting on here, I will also be tweeting like crazy so make sure to follow @WayTooIndie on twitter.

Day #1: Holy Motors

Day #2: War Witch – Like Someone In Love – After Lucia

Day #3: Flowerbuds – Paradise: Love

Day #4: Once Upon A Time Was I, Veronica – Beyond The Hills

Day #5: Empire Builder – Not Fade Away

Chicago International Film Festival Trailers:

Holy Motors trailer:

War Witch trailer:

Like Someone In Love trailer:

Flowerbuds trailer:

Paradise: Love trailer:

Beyond The Hills trailer:

Not Fade Away trailer:

Nearly a month ago the first wave of 22 tiles were announced that would play at the 2012 Chicago International Film Festival and today the rest of the lineup has been revealed. Some of the notable additions to the lineup were; Paradise: Love which played at Cannes, Carlos Reygades’ baffling Post Tenebras Lux, the obsessive The Shining documentary Room 237, Brandon Cronenberg’s debut Antiviral and SXSW winner Gimme The Loot.

CIFF is shaping up to be a festival that is worth attending as the lineup is certainly stacked with some reputable films including the controversial Holy Motors and other Cannes film festival titles such as Beyond the Hills and Like Someone in Love. Other anticipated films that will play at the festival are; The Sessions, Leviathan (which was CJ’s favorite film at TIFF) and The Impossible.

Also a special presentation of Cloud Atlas will play at the festival and serve as the Centerpiece Film. Scheduled to attend that screening are the directors of the film; Tom Tykwer and the Chicago natives Lana and Andy Wachowski.

The 48th Chicago International Film Festival will be held on October 11th through October 25th 2012 at AMC River East 21 in downtown Chicago. This year I will be attending the festival and reporting back with capsule reviews and tweets for Way Too Indie so stay tuned.

2012 Chicago International Film Festival Lineup
Here is a link to .PDF with schedule and descriptions of the films.

The ABCs of Death (various directors)
After Christmas (Benjamin Kegan)
After Lucia (Michel Franco)
Ken Nordine Presents Agenbite of Inwit
Agon (Robert Budina)
Alaskaland (Chinonye Chukwu)
Another Bullet Dodged (Landon Zakheim)
Antiviral (Brandon Cronenberg)
Any Day Now (Travis Fine)
Art of Conflict (Valeri Vaughn)
As Goes Janesville (Brad Lichtenstein)
Astrid (Fijona Jonuzi)
Bad Seeds (Safy Nebbou)
The Believers (Clayton Brown Monica Long Ross)
The Bella Vista (Alicia Cano)
Benji (Coodie and Chike)
Beyond the Hills (Cristian Mungiu)
Bite of the Tail
Black Pond (Tom Kingsley and Will Sharpe)
Black’s Game (Axelsson)
Body Memory (Ülo Pikkov)
Boys Are Us (Peter Luisi)
Cadaver (Joseph Ansell)
Caesar Must Die (Paolo and Vittorio Taviani)
Café Regular, Cairo (Ritech Batra)
A Caretaker’s Tale (Katrine Wiedemann)
CatCam (Seth Keal)
The Central Park Five (David McMahon, Ken Burns and Sarah Burns)
The Chair (Grainger David)
Chill (Hana Jušić)
Citadel (Ciaran Foy)
The Cleaner (Adrian Saba)
Clip (Maja Milos)
Cloud Atlas (Andy Wachowski, Lana Wachowski and Tom Tykwer)
Color of Sky (Dr. Biju)
Come to Harm (Bokur Sigthorsson)
Coming of Age (Gerhart Ertl and Sabine Hiebler)
The Conquerors (Sarolta Szabó and Tibor Bánóczki)
Consuming Spirits (Chris Sullivan)
Dad, Lenin and Freddy (Rinio Dragasaki)
Day of the Crows (Jean-Christophe Dessaint)
Dear Hunters (Zack Bornstein)
The Delay (Rodrigo Plá)
Diaz: Don’t Clean up this Blood (Daniele Vicari)
Dinosaur Eggs in the Living Room (Rafael Urban)
Don’t Click (Tae-kyeong Kim)
Dragon (Peter Chan)
Dreams for Sale (Miwa Nishikawa)
Drought (Everardo González)
The Drudgery Train (Nobuhiro Yamashita)
Edmond Was A Donkey (Franck Dion)
Ellen is Leaving (Michelle Savill)
Empire Builder (Kris Swanberg)
Everybody’s Got Somebody…Not Me (Raúl Fuentes)
The Exam (Peter Bergendy)
F*ckload of Scotchtape (Julian Grant)
Fable (Lester Hamlet)
Faces (Said Najmi)
The Final Member (Jonah Bekhor and Zach Math)
Flight (Robert Zemeckis)
Flowerbuds (Zdenek Jirasky)
Footnote (Joseph Cedar)
Friend Request Pending (Chris Foggin)
Full Circle (Zhang Yang)
Germania (Maximiliano Schonfeld)
Gimme the Loot (Adam Leon)
Hemel (Sacha Polak)
Holy Motors (Leos Carax)
Hometown Boy (Hung-I Yao)
The Impossible (Juan Antonio Bayona)
In Hanford (Chris Mars)
In Their Skin (Jeremy Power Regimbal)
Jai Bhim Comrade (Anand Patwardhan)
The Jeffrey Dahmer Files (Chris James Thompson)
John Dies at the End (Don Coscarelli)
Keep the Lights On (Ira Sachs)
Kern (Veronika Franz & Severin Fiala)
King Curling (Ole Endresen)
Kuma (Umut Dag)
La Demora (Rodrigo Plá)
The Land of Eb (Andrew Williamson)
The Land of Hope (Sion Sono)
Land of the Heroes (Sahim Omar Kalifa)
The Last Friday (Yahya Al Abdallah)
The Last Ice Merchant (Sandy Patch)
The Last Sentence (Jan Troell)
Leviathan (Lucien Castaing-Taylor and Verena Paravel)
Like Someone in Love (Abbas Kiarostami)
Maniac (Franck Khalfoun)
Marie Kroyer (Bille August)
Marla (Nick King)
Mea Maxima Culpa: Silence in the House of God (Alex Gibney)
Meeting Leila (Adel Yaraghi)
Mekong Hotel (Apichatpong Weerasethakul)
Modest Reception (Mani Haghighi)
A Monkey on My Shoulder (Marion Laine)
Mr. Christmas (Nick Palmer)
Mr. Sophistication (Danny Green)
Murderer Alias X (Lynn Devillaz & Antonio Veiras)
My Bow Breathing (Enrico Maria Artale)
Next Door Letters (Sascha Fülscher)
Night Across the Street (Raoul Ruiz)
Not Fade Away (David Chase)
Numbered (Dana Doron and Uriel Sinai)
Of Snails and Men (Tudor Giurgiu)
Off White Lies (Maya Kenig)
Oh Willy… (Emma de Swaef)
Old Man (Leah Shore)
Once Upon a Time Was I, Veronica (Marcelo Gomes)
Otelo Burning (Sara Blecher)
Our Children (Joachim Lafosse)
Out in the Dark (Michael Mayer)
An Oversimplification of her Beauty (Terence Nance)
Paradise (Nadav Kurtz)
Paradise: Love (Ulrich Seidl)
The Patsy (King Vidor)
Paul (Adam Bizanski)
The Perfect Fit (Tali Yankelevich)
Pitch Black Heist (John Maclean)
La Playa DC (Juan Andres Arango Garcia)
Post Tenebras Lux (Carlos Reygadas)
Postcards from the Zoo (Edwin)
The Pub (Joseph Pierce)
Quartet (Dustin Hoffman)
The Queen of My Dreams (Fawzia Mirza)
Rat Fever (Cláudio Assis)
Reality (Matteo Garrone)
The Repentant (Merzak Allouache)
Return (Shay Levi)
Rhino Season (Bahman Ghobadi)
Room 237 (Rodney Ascher)
Room 69 (Claude Barras)
A Royal Affair (Nikolaj Arcel)
The Runner (Ana Lazarevic)
The Sapphires (Wayne Blair)
The Scapegoat (Charles Sturridge)
Sea Shadow (Nawaf Al-Janahi)
A Secret World (Gabriel Mariño)
The Sessions (Ben Lewin)
Shadow Dancer (James Marsh)
Shameless (Filip Marczewski)
Sharqiya (Ami Livne)
Shun Li and the Poet (Andrea Segre)
Simon Killer (Antonio Campos)
Sister (Ursula Meier)
Sleep Tight (Jaume Balagueró)
Something in the Air (Olivier Assayas)
Stand Up Guys (Fisher Stevens)
Starlet (Sean Baker)
StringCaesar (Paul Schoolman)
Tastes Like Chicken? (Quico Meirelles)
Tchoupitoulas (Bill Ross and Turner Ross)
Tey (Alain Gomis)
This is London (Mohammed Rashed Buali)
The Three Disappearances of Soad Hosni (Rania Stephan)
TSTL/ King Lost His Tooth (Gheith Al-Amine)
Under the Colors (Esmaeel Monsef)
Valley of Saints (Musa Syeed)
Voice Over (Martin Rosete)
Waiting for P.O. Box (Bassam Chekhes)
War Witch (Kim Nguyen)
The Weekend (Nina Grosse)
Westerland (Tim Staffel)
Where the Buffalo Roam (Brad Bischoff)
Winter of Discontent (Ibrahim El-Batout)
The World Is Funny (Shemi Zarhin)
Written in Ink (Martin Rath)
Xingu (Cao Hamburger)
Yardbird (Michael Spiccia)
Yuma (Piotr Mularuk)
38-39°C (Kangmin Kim)
43,000 Feet (Campbell Hooper)

Part of the 2012 Chicago International Film Festival Lineup has been revealed today when they announced the first 22 titles that will be shown at the festival. This gives us just a small taste of what is in store for the festival this year.

Some of the most noteworthy films include Cristian Mungiu’s Beyond The Hills, Abbas Kiarostami’s Like Someone In Love, and Leos Carax’s Holy Motors, which all premiered at Cannes Film Festival earlier this year. Other standouts are Keep the Lights On, Caesar Must Die and The Sessions.

The biggest surprise from the announcement is the absence of Michael Haneke’s Amour, which is making strong festival runs after winning the Palme D’Or at Cannes. But that does not mean the film will not be in the lineup, we will just have to wait until the full lineup is announced in September to see if that is the case.

These 22 films will be among more than 150 that will be playing throughout the 48th Chicago International Film Festival that will be held October 11th-25th, 2012. Way Too Indie plans to be in attendance this year and reporting back so stay tuned for further updates. Below is the full list of films that were announced today.

2012 Chicago International Film Festival Lineup (so far):

As Goes Janesville (Brad Lichtenstein)
The recession hits home in Janesville, WI, where the shutdown of a GM plant has devastated the town. Following laid-off employees struggling to make ends meet and local business owners trying to lure back investors, this intimate verité-style documentary supplies refreshingly human insight into America’s economic crisis.

Benji (Coodie & Chike)
In 1984, all eyes were on Ben Wilson, one of Chicago’s top high school basketball prospects. But in his senior year, Benji’s story was suddenly cut short. Interviews with family and friends give fresh insight into Benji’s life and untimely end, illuminating one of sport’s most tragic “what if”s.

Beyond The Hills (Cristian Mungiu)
Mungiu (4 Months, 3 Weeks and 2 Days) returns to feature filmmaking with this gripping existential drama. Inspired by the real-life horror of a modern-day exorcism-gone-wrong, the film follows two women, close friends whose lives have taken them down drastically different paths: one into a convent, the other much further astray.

The Cleaner (Adrian Saba)
In the midst of a mysterious, devastating epidemic, Eusebio – a forensic cleaner who sterilizes the apartments of the dead discovers an eight-year-old boy hiding in an uninhabited house. A grizzled loner all his life, Eusebio suddenly finds that he must care for this young boy as civilization crumbles around them in this quietly compelling dystopian drama.

Caesar Must Die (Paolo & Vittorio Taviani)
The top prize winner in Berlin, this docudrama from the legendary Taviani brothers depicts the preparations for a staging of Shakespeare’s Julius Caesar by inmates in Rome’s Rebibbia Prison. The performers, many of whom are in jail for violent crimes, bring powerful new layers of meaning and emotion to the canonical play.

Coming of Age (Sabine Hiebler & Gerhart Ertl)
In their 80s, Rosa and Bruno meet and are suddenly reminded what it means to love and live fully. The two – knowing that their time is limited – run off together, leaving much and many in their wake. This unconventional romantic drama paints a powerful portrait of love by turns stark, passion-filled and heart-breaking.

Consuming Spirits (Chris Sullivan)
A melancholic, mesmerizing vision of backwoods gothic Americana that was 15 years in the making, Consuming Spirits weaves together a spell-binding blend of animation techniques. Folksy storytelling tinged with the dark surrealism of David Lynch, this atmospheric, multi-layered tale of outcasts and misfits is haunting, funny and occasionally heart-breaking.

Don’t Click (Kim Tae-Kyeong)
When cyber junkie Jung-mi learns of a sinister new “forbidden” internet video, she’ll stop at nothing to find it. However, the morbid video has strange effects on its viewers, and soon Jung-mi and her sister seem to be under a bizarre and terrifying curse in this disturbing take on 21st-century technology, surveillance, and internet fame.

Holy Motors (Leos Carax)
Several lifetimes pass in the span of a few hours for Monsieur Oscar, a shadowy character who effortlessly transitions from one realm to the next. He is, in turn, captain of industry, assassin, beggar, monster, family man. This mysterious, hallucinatory epic has ignited passions around the world for its bold, euphoric virtuosity.

In Their Skin (Jeremy Power Regimbal)
A relaxing trip to the country takes a dark and disturbing turn when a seemingly friendly visit from the neighbors turns into a terrifying and potentially deadly situation. Skillfully building the claustrophobic atmosphere with masterful control over mood and pacing, In Their Skin is a chilling, sophisticated slice of terror.

The Jeffrey Dahmer Files (Chris James Thompson)
By the time he was arrested, Jeffrey Dahmer had killed and dismembered 17 victims, mostly in his nondescript Milwaukee apartment. Using a mixture of archival footage, new interviews and recreations, this documentary paints a complex, intimate portrait of one of America’s most notorious serial killers.

Keep the Lights On (Ira Sachs)
A one-night stand between Erik and Paul quickly grows into something more, but their differences – along with Paul’s struggles with addiction – soon chip away at their relationship. This sensitive, subtle account of an intense, nine-year on-off relationship tenderly reminds us that love is not always enough.

Like Someone In Love (Abbas Kiarostami)
Iran’s greatest living filmmaker travels to Tokyo for this understated, enigmatic romantic drama. Unbeknownst to her boyfriend, the enchanting university student Akiko secretly moonlights as an escort. An encounter with a client – a shy, elderly academic – leads to an unconventional, unexpectedly intimate relationship in which nothing is quite as it seems.

Marie Krøyer (Bille August)
Married to one of Denmark’s most celebrated 19th century painters, Marie Krøyer’s life is both privileged and fraught. Struggling to discover her own identity while managing her husband’s increasingly erratic behavior, Marie begins to look outside of her marriage for affirmation and autonomy. But at what cost?

A Modest Reception (Mani Haghighi)
Tasked with giving away huge sums of money by whatever means possible, Kaveh and Layla drive through the remote, war-torn mountains of Iran with a trunkful of cash. What begins as a seemingly harmless game soon reveals itself to be a twisted bout of charity as the power, humiliation, and shame inherent in their act plays out between the privileged couple and the impoverished villagers.

Out in the Dark (Michael Mayer)
Nimer, a Palestinian student, dreams of a better life abroad. One fateful night he meets Roy, an Israeli lawyer. As their relationship deepens, Nimer is confronted with the harsh realities of a Palestinian society that refuses to accept his sexual identity, and an Israeli society that rejects his nationality.

The Scapegoat (Charles Sturridge)
The Scapegoat tells the story of two very different men who have one thing in common: a face. Near exact replicas, these doppelgangers meet by chance, each at a major crossroads in his life in this adaptation of Daphne Du Maurier’s novel, which recalls the productions of Merchant- Ivory at their finest.

The Sessions (Ben Lewin)
Based on the poignantly optimistic autobiographical writings of California-based journalist and poet Mark O’Brien, The Sessions tells the story of a man confined to an iron lung who is determined – at age 38 – to lose his virginity. With the help of his therapists and the guidance of his priest, he sets out to make his dream a reality.

Shameless (Filip Marczewski)
In an incendiary story of love, desire, and betrayal between siblings, the rebellious young Tadek returns to sister Anka’s home in search of solace and affection. Bound together by a painful shared family history, brother and sister must find a way to break free in order to survive.

Tey (Alain Gomis)
What would you do if you knew today was your last? A joyous, impressionistic celebration of life and death, Tey follows Satché from the moment he wakes, with full knowledge of his imminent passing. Wandering through the streets of his hometown, Satché reflects on the choices he has made and their consequences.

Valley of Saints (Musa Syeed)
Gulzar, a boatman on Kashmir’s gorgeous, peaceful Dal Lake, plans to leave for the city when a military curfew forces him to remain in his hometown. When Gulzar meets Asifa, a pretty young scientist studying the lake, a romance develops against a backdrop of jealousy, competition, and ongoing political turmoil.

Short Films: Highlights of this year’s programs include: Paraíso, in which three Chicago window cleaners wax philosophical as they work on a high-rise; the animated Oh Willy…, in which the hero returns to the naturist community where he spent his youth; and Yardbird, in which a young girl uses special powers against bullies.

While Toronto and Venice might take up the spotlight throughout September, New York also has its own film festival that runs from the end of September to October. The line-up for NYFF’s main slate has been revealed today, showing 32 titles that will play at the festival come September 28th.

Most of the fest’s biggest gets were revealed earlier, with Ang Lee’s Life of Pi opening the festivities and Robert Zemeckis’ Flight serving as the closing film. David Chase’s Not Fade Away will also be premiering as the Centerpiece selection.

While the line-up has plenty of big names attached, it’s mostly made up of films that have already been announced or played at various film festivals around the world. Michael Haneke’s Amour will certainly be one of the more anticipated films after it won the Palme D’Or at Cannes, while other Cannes titles like Holy Motors, No, Beyond The Hills, Like Someone in Love and You Ain’t Seen Nothing Yet are also part of the main slate.

The rest of the line-up can be seen below. For those who can’t make it out to Toronto, Venice or any of the other major film festivals, it looks like NYFF will cover a fair amount of the more high-profile titles to come out of the festival circuit this year. The 50th New York Film Festival will run from September 28th to October 14th.

2012 Main Slate Lineup:

Amour (Michael Haneke, Austria/France/Germany)
Michael Haneke’s Palme d’Or winner of Cannes 2012 is a merciless and compassionate masterpiece about an elderly couple dealing with the ravages of old age. A Sony Pictures Classics release.

Araf—Somewhere In Between (Yeşim Ustaoğlu, Turkey/France/Germany)
Director Yesim Ustaoglu depicts with empathy and uncompromising honesty the fate of a teenaged girl when she becomes sexually obsessed with a long-distance trucker and the promise of freedom that he embodies.

Barbara (Christian Petzold, Germany)
Christian Petzold’s perfectly calibrated Cold War thriller features the incomparable Nina Hoss as a physician planning to defect while exiled to a small town in East Germany. An Adopt Films release.

Beyond the Hills/După dealuri (Cristian Mungiu, Romania)
4 Months, 3 Weeks and 2 Days director Cristian Mungiu returns with a harrowing, visually stunning drama set in a remote Romanian monastery. Winner, Best Actress and Best Screenplay, 2012 Cannes Film Festival. A Sundance Selects release.

Bwakaw (Jun Robles Lana, The Philippines)
A moving and funny surprise from the Philippines starring the great Eddie Garcia—and a truly unforgettable dog—in the story of an elderly loner going where he’s never dared venture before.

Camille Rewinds/Camille Redouble (Noémie Lvovsky, France)
Noemie Lvovsky directs and stars in an ebullient comedy of remarriage that gives Francis Ford Coppola’s Peggy Sue Got Married a sophisticated, personal, and decidedly French twist.

Caesar Must Die/Cesare deve morire (Paolo Taviani, Vittorio Taviani, Italy)
Convicted felons stage a production of Julius Caesar in this surprising new triumph for the Taviani Brothers, winner of the Golden Bear at this year’s Berlin Film Festival. An Adopt Films release.

The Dead Man and Being Happy/El muerto y ser feliz (Javier Rebollo, Spain/Argentina)
A dying hitman and a mysterious femme fatale set off on an oddball journey through Argentina’s interior in this playful and unexpectedly moving reverie on love, death and the open road.

Fill the Void/Lemale et ha’chalal (Rama Burshtein, Israel)
With her first dramatic feature, writer-director Rama Burshtein has made a compelling, disconcerting view of Israel’s orthodox Hassidic community from the inside.

First Cousin Once Removed (Alan Berliner, USA)
Alan Berliner creates a compelling, heartfelt chronicle of poet and translator Edwin Honig’s loss of memory, language and his past due to the onslaught of Alzheimer’s. An HBO Documentary Films release. World Premiere.

Flight (Robert Zemeckis, USA)
Denzel Washington and Robert Zemeckis team on this tense dramatic thriller about an airline pilot who pulls off a miraculous crash landing…while flying under the influence. A Paramount Pictures release. Closing Night. World Premiere.

Frances Ha (Noah Baumbach, USA)
Lightning-in-a-bottle, Noah Baumbach’s love poem to his star and screenwriter Greta Gerwig recalls Godard’s early celebrations of Anna Karina, but, as a New York movie, it’s beautiful in a brand new way.

The Gatekeepers/Shomerei Ha’saf (Dror Moreh, Israel/France/Germany/Belgium)
Six former heads of Israel’s internal security agency, the Shin Bet, discuss their nation’s past, present and future, in what will surely be one of the most hotly discussed films of the year. A Sony Pictures Classics release.

Ginger and Rosa (Sally Potter, UK)
Sally Potter’s riveting coming-of-age story, set in London in 1962, centers on two teenage best friends (played by the revelatory Elle Fanning and talented newcomer Alice Englert) who are driven apart by a scandalous betrayal.

Here and There/Aquí y Allá (Antonio Méndez Esparza, Spain/US/Mexico)
After years in the U.S., Pedro returns home to his family in Mexico, but the lure of the north remains as strong as ever. A most impressive feature debut by Antonio Mendez Esparza.

Holy Motors (Léos Carax, France)
Leos Carax’s unclassifiable, breathtaking, expansive movie—his first in 13 years—stars the great Denis Lavant as a man named Oscar who inhabits 11 different identities over a single day in Paris. An Indomina Releasing release.

Hyde Park on Hudson (Roger Michell, USA/UK)
Bill Murray caps his career with a wily turn as FDR in this captivating comedy-drama about the President’s relationship with his cousin Margaret “Daisy” Suckley (Laura Linney). A Focus Features release.

Kinshasa Kids (Marc-Henri Wajnberg, Belgium/France)
Perhaps the most ebullient “musical” you’ll see this year, Marc-Henri Wajnberg’s singular documentary/fiction hybrid follows a group of street children in the Congolese capital.

The Last Time I Saw Macao/A Última Vez Que Vi Macau (João Pedro Rodrigues)
This stunning amalgam of film noir and Chris Marker cine-essay poetically explores the psychic pull of the titular former Portuguese colony.

Leviathan (Lucien Castaing-Taylor, Véréna Paravel, USA)
NYFF alumni Lucien Castaing-Taylor (Sweetgrass) and Véréna Paravel (Foreign Parts) team for another singular anthropological excavation, this time set inside the commercial fishing industry.

Life of Pi (Ang Lee, USA)
Ang Lee’s superb 3D adaptation of the great bestseller resembles no other film. A 20th Century Fox release. Opening Night. World Premiere.

Like Someone in Love (Abbas Kiarostami, Japan/Iran/France)
Master Iranian filmmaker Abbas Kiarostmi ventures to Japan for this mysterious beautiful romantic drama about the brief encounter between an elderly professor and a young student. A Sundance Selects release.

Lines of Wellington/Linhas de Wellington (Valeria Sarmiento, France/Portugal)
Passionate romance, brutal treachery, and selfless nobility are set against the background of Napoleon’s 1810 invasion of Portugal in Valeria Sarmiento’s intimate epic.

Memories Look at Me/Ji Yi Wang Zhe Wo (Song Fang, China)
Song Fang’s remarkable first feature, in which she travels from Beijing to Nanjing for a visit with her family, perfectly captures the rhythms of brief sojourns home.

Night Across the Street/La Noche de enfrente (Raul Ruiz, Chile/France)
A final masterpiece from one of the cinema’s most magical artists, this chronicle of the final months of one Don Celso allows the late Raul Ruiz the chance to explore the thin line between fact and fiction, the living and the dead. A Cinema Guild release.

No (Pablo Larrain, Chile/USA)
Gael Garcia Bernal stars as a Chilean adman trying to organize a campaign to unseat Pinochet in Pablo Larrain’s smart, engrossing political thriller. A Sony Pictures Classics release.

Not Fade Away (David Chase, USA)
The debut feature from The Sopranos creator David Chase is a wise, tender and richly atmospheric portrait of a group of friends trying to start a rock band in 1960s suburban New Jersey. A Paramount Vantage release. Centerpiece. World premiere.

Our Children/À perdre la raison (Joachim Lafosse, Belgium)
Belgian director Joachim LaFosse turns a lurid European news story about a mad housewife into a classical tragedy. Émilie Dequenne more than fulfills the promise of her award-winning performance in Rosetta.

Passion (Brian de Palma, France/Germany)
Brian De Palma brings great panache and a diabolical mastery of surprise to a classic tale of female competition and revenge. Noomi Rapace and Rachel McAdams are super-cool and oh so mean.

Something in the Air/Après Mai (Olivier Assayas, France)
Too young to have been on the May ’68 barricades, a group of young people explore their options for continuing the political struggle in Olivier Assayas’ incisive portrait of a generation. A Sundance Selects release.

Tabu (Miguel Gomes, Portugal)
An exquisite, absurdist entry in the canon of surrealist cinema, Tabu is movie-as-dream—an evocation of irrational desires, extravagant coincidences, and cheesy nostalgia grounded in serious feeling and beliefs. An Adopt Films release.

You Ain’t Seen Nothin’ Yet/Vous n’avez encore rien vu (Alain Resnais, France)
The latest from 90-year-old Alain Resnais is a wry, wistful and always surprising valentine to actors and the art of performance starring a who’s-who of French acting royalty.

The jury announced the winners at the Lumiere Theater Sunday night for the 2012 Cannes Film Festival. Michael Haneke’s Amour was awarded the top prize of the Palme d’Or as many thought would happen for the Cannes veteran director. Some of the other awards seemed to be less obvious, Best Director went to Carlos Reygadas for Post Tenebras Lux and Reality won Grand Prix. Behn Zeitlin was awarded Camera d’Or for his first feature film Beasts of the Southern Wild.

See the full list of nominations.

The entire list of 2012 Cannes Film Festival Award Winners:

Amour, (director Michael Haneke)

Reality, (director Matteo Garrone)

Carlos Reygadas, Post Tenebras Lux

Cristian Mungiu, Beyond The Hills

Beasts Of The Southern Wild, (director Benh Zeitlin)

The Angels’ Share, (director Ken Loach)

Cosmina Straten, Beyond The Hills
Cristina Flutur, Beyond The Hills

Mads Mikkelsen, The Hunt

The lineup announcement for the 2012 Cannes Film Festival came in today. We reported that Moonrise Kingdom from Wes Anderson would be opening the 65th annual festival. Today we learn that the film will also be in competition, which is not always the case. The festival runs from May 16th through May 27th 2012.

The biggest letdown is that P.T. Anderson’s The Master is not going to premiere at the festival like many had hoped. Other notable films missing were Terrence Malick’s untitled film and Quentin Tarantio’s Django Unchained.

The full lineup for 2012 Cannes Film Festival:

Moonrise Kingdom (director Wes Anderson)

Amour (director Michael Haneke)
The Angel’s Share (director Ken Loach)
Baad EL Mawkeaa (director Yousry Nasrallah)
Beyond The Hills (director Cristian Mungiu)
Cosmopolis (director David Cronenberg)
Holy Motors (director Leos Carax)
The Hunt (director Thomas Vinterberg)
In Another Country (director Hong Sang-Soo)
Im Nebels (Dans La Brume) (director Sergei Loznitsa)
Killing Them Softly (director Andrew Dominik)
Lawless (director John Hillcoat)
Like Someone In Love (director Abbas Kiarostami)
Moonrise Kingdom (director Wes Anderson)
Mud (director Jeff Nichols)
On The Road (director Walter Salles)
Paradies: Liebe (director Ulrich Seidl)
The Paperboy (director Lee Daniels)
Post Tenebras Lux (director Carlos Reygadas)
Reality (director Matteo Garrone)
Rust & Bone (director Jacques Audiard)
Taste Of Money (director Im Sang-Soo)
Vous N’Avez Encoure Rien Vu (director Alain Resnais)

Une Journee Particuliere (directors Gilles Jacob and Samuel Faure)
Madagascar 3: Europe’s Most Wanted (directors Eric Darnell and Tom McGrath)
Dario Argento’s Dracula (director Dario Argento)
Io E Te (director Bernardo Berolucci)
Hemingway & Gellhorn (director Philip Kaufman)
Ai To Makoto (director Takashi Miike)

Miss Lovely (director Ashim Ahluwalia)
La Playa (director Juan Andres Arango)
Les Chevaus De Dieu (director Nabil Ayouch)
Trois Mondes (director Catheron Corsini)
Antiviral (director Brandon Cronenberg)
7 Days In Havana (directors Benicio Del Toro and Laurent Cantet and Gaspar Noe and more)
Le Grand Soir (directors Benoit Delepine and Gustave Kervern)
Laurence Anyways (director Xavier Dolan)
Despues De Lucia (director Michel Franco)
Aimer A Perdre La Raison (director Joachim Lafosse)
Mystery (director Lou Ye)
Student (director Darezhan Omirbayev)
La Pirogue (director Moussa Toure)
Elefante Blanco (director Pablo Trapero)
Confession Of A Child Of The Century (dir. Sylvie Verheyde)
11.25: The Day He Chose His Own Fate (director Koji Wakamatsu)
Beasts Of The Southern Wild (director Benh Zeitlin)

Der Mull Im Garten Eden (director Faith Akin)
Mekong Hotel (director Apichatpong Weerasethakul)
Villegas (director Gonzalo Tobal)
A Musica Segundo Tom Jobim (director. Nelson Pereira Do Santos)
Journal De France (directors Claudine Nougaret and Raymond Depardon)
Les Invisbles (director Sebastien Lifshitz)
The Central Park Five (directors Ken Burns and Sarah Burns and David McMahon)
Roman Polanski: A Film Memoir (director Laurent Bouzereau)

Therese D. (director Claude Miller)