All week long we’ve slowly been revealing our choices for Best 50 Movies Of The Decade So Far, and today we’ve reached the top of the list. While every film we’ve chosen thus far represents the incredible cinematic achievements made during the first half of this decade, the following ten films are the best of the best. Here’s to an amazing first five years of the decade, and hoping the next five lead to even bigger and better things.

Next week we will release our Best 50 Songs of the Decade So Far and later this month we will feature Best Albums and Best Television Shows!

Best 50 Movies Of The Decade So Far
(#10 – #1)

The Act of Killing

The perspective Joshua Oppenheimer presents to his audience in his landmark documentary The Act of Killing is simply extraordinary. The most fitting comparison might be when horror movies in the 1980’s started using forced perspective shots from the killer. But The Act of Killing is about real life—and the genocide that spread through Indonesia in the mid 1960’s is far from the events of Camp Crystal Lake. The Act of Killing primarily does two things. First, it describes the Indonesian murders the gangsters committed in almost meticulous detail. Oppenheimer gives Anwar Congo and the other executioners the stage (quite literally) to create a historical record of what they did and how they did it. In doing so, the film becomes a deep and surprising character study of these men, who may easily be described as real life monsters. The boldest result of the documentary’s format, however, is how it forces these men to reflect on themselves—what was probably described to them as a showcase of their personalities, perhaps even as a way to show the world who they really are, instead forces the subjects to return to their crimes and reconsider them. This “act” is probably something Congo has done a million times in braggadocious retellings to friends and enemies, but there is something in the reenactment that incites a break in his character. The Act of Killing is quite disturbing, but also incredibly cathartic. [Aaron]

Blue is the Warmest Color

This film sent ripples around the festival circuit pretty quickly, and if you’ve seen it, it isn’t hard to see why. It has been described in a variety of ways, from “coming out narrative” to “bildungsroman,” and undoubtedly has provoked plenty of discussion around its sex scenes alone. But Blue is the Warmest Color does not fit into any one of the many labels it recalls, because it is not one movie. It is as easily placed into a genre as one can place the life of a woman into a genre. Because that is exactly what this film is: a life, a narrative that has more emotional reality than plot, and more symbolic function than events. To describe it in a summary of plot events does it little justice, because said events bear the relative significance of a wall to a house: indispensable, undoubtedly, but not anywhere near the defining feature. For one film to tackle love, art, literature, culture, class, education and above all, consumption, is ambitious enough, but to do so while seamlessly jumping a few years in time, and then leave us wanting more at the end of nearly three hours? That is truly remarkable. [Pavi]

The Turin Horse

Béla Tarr’s self-declared final film The Turin Horse is, if nothing else, a perfect ending to an amazing career. Tarr has defined himself for his use of long, elaborate takes, shooting long films in as few shots as possible. The most extreme example of this would be his 430-minute epic Satantango, which only contains about 150 shots. The Turin Horse runs at a considerably smaller length of 150 minutes, and only in 30 shots, but it can be a grueling experience. Taking place over six days, the film follows a farmer and his daughter as they live out an existence that almost amounts to nothing. Tarr spends over an hour of his film watching them go through the exact same daily motions, before slowly removing one aspect after another from their lives. First their horse won’t move, then the well dries, and by the sixth day things take an apocalyptic turn. The Turin Horse doesn’t exactly sound like a fun time, but its power is immense. Tarr has a style that’s all his own, and his work behind the camera (along with regular cinematographer Fred Keleman) is nothing short of extraordinary. There are plenty of grim films, but few can pull off the all-encompassing and evocative world Tarr creates here. The Turin Horse isn’t a pleasant experience, but it’s one that’s well worth taking. [CJ]

The Social Network

Let’s talk about unlikely masterpieces. “The Facebook Movie” interwove three timelines, two litigations, a hard-to-like protagonist, and the deterioration of his relationships, both personal & professional, into a story that more closely resembles Citizen Kane than other social media-based projects like Catfish or Unfriended. This coming from a filmmaker whose most iconic film works depict a serial killer who bases his murders on biblical sins and on an underground group of brawling men. Like most of David Fincher’s films, part of what makes The Social Network so distinctive is that it features his collaborators operating at peak ability. The movie features Jesse Eisenberg’s only truly transcendent performance, one that turns his neurosis into focused passive aggression. Both Andrew Garfield and Justin Timberlake are stellar here as well. Aaron Sorkin’s script tosses around computer programming jargon with the elegance of a ‘30s screwball comedy. The Trent Reznor & Atticus Ross score, their first contribution to Fincher’s films in what has since become a partnership, is likely the best of their collaborations to date with “In Motion” still a standout among the many great tracks they’ve produced. The Social Network captures the qualities of ambition and selfishness innate in the origins of wildly successful people, with an engrossing, modern aesthetic. [Zach]

12 Years a Slave

Steve McQueen’s unflinching depiction of slavery in the mid-19th century is the type of harrowing portrayal of true-life tragedy that rarely emerges from American cinema (perhaps explaining why this picture came from a British director). A thoughtful, focused look at an ugly but historic American institution is stripped of the hero’s journey narrative forced on a majority of studio-made films. There are few moments of triumph in 12 Years a Slave, barely any speechifying, and thankfully a notable lack of angelic, white savior figures to save Solomon Northrup. Instead McQueen implements his signature long takes to become a fly on the wall to the truly awful treatment that slaves received. Scenes involving the brutality of slave owners unfold in real-time, and without allowing the audience the benefit of a cutaway to more pleasant scenes. None of the movie should feel like a revelation to anyone with knowledge of America’s tainted past; however, the no frills honesty with which McQueen approaches his subject seems the only proper approach to this sad era of history. Complimented by stellar performances from Chiwetel Ejiofor, Lupita Nyong’o, Sarah Paulson and a terrifying Michael Fassbender, 12 Years a Slave is the type of film tragedy deserves, an unwavering representation of both the power of the human spirit and the evils of which humans are capable. [Zach]

Under the Skin

These days, science fiction seems to be all about the big budget FX. Recent sci-fi offerings ranging from the cerebral Interstellar to the MCU’s Guardians of the Galaxy all rely on huge FX set-pieces to sell their sizzle to the audience. It wasn’t always this way. In fact, one of the greatest, yet simplest, sci-fi entries of all time wasn’t even a movie—it was a radio show. Performed by Orson Welles and the Mercury Theater on the Air players in 1938, The War of the Worlds, adapted from the H.G. Wells novel of the same title, proves in retrospect that all the digital cinematic wizardry in the world can’t trump the powerful simplicity of a solid story and terrific performances. The same can be said about Jonathan Glazer’s 2013 film Under the Skin. Sure, it has some dazzling FX, but it’s the simplicity of story—a mysterious woman of otherworldly origins assumes the characteristics of another girl and methodically hunts men in Scotland—and a career-defining performance from Johansson (which is saying something), that makes the film not only mesmerizing, but an entry worthy of mentioning in the same breath as The War of the Worlds. It might be disguised as an art house film, but have no illusions, Under the Skin is a seminal entry in the sci-fi genre, setting a new standard of excellence and positioning itself to be the topic of discussion for decades to come. [Michael]

Nightcrawler

There are antiheroes, there are villains, there are sociopaths, and then there is Lou Bloom. Jake Gyllenhaal as the emaciated and determinedly self-assured young Bloom is more intricate than the average villainous protagonist. I’m not sure he can even be described as a sociopath because his motivations in becoming a scumbag video journalist, capturing the gruesome aftermath of horrendous Los Angeles crimes and accidents late at night, is decidedly an emotional investment. An investment in his own shockingly self-absorbed and narcissistic ambitions. A sociopath has no sense of their wrong-doing, Bloom knows and has already decided his own need to excel takes precedence. As the film debut of Dan Gilroy, Nightcrawler is especially impressive. Each action-filled scene made darkly beautiful by Robert Elswit’s camerawork—and the pace steadily increasing as Bloom’s thirst for notoriety increase—the film portrays the seedy side of Los Angeles and insightfully proves the darkest capabilities of humanity don’t always lie with the guy holding the gun. With exceptional work from Renee Russo—who proves she can shine when given the chance—as well as Bill Paxton and Riz Ahmed as Bloom’s unfortunate protege, the film is unsettling and yet guiltily fun. After all any sociopath or villain is only as compelling as how well they provoke us to consider how far our own ambitions could take us. Gyllenhaal’s Bloom sets a new bar for controlled crazy. But its exactly that control that makes this film so amazing and unsettling. [Ananda]

Her

Quite a turn from Spike Jonze’s last feature film in 2011, Where the Wild Things Are, which he also produced and directed, 2013’s Her was a necessary science-fictional exploration into a concern that has been discussed to no end since the introduction of the handheld mobile device. What would it lead to? Where could it take us? Jonze had already touched on those questions with his 2010 short I’m Here, but was able to delve a lot deeper with a feature film and a larger budget; and with the invention of Siri in 2011, the discussion became even more pronounced and more imaginative. Artificial Intelligence isn’t a new concept by any means in the world of science fiction, however this one tends to hit close to home. When one can barely go out in a crowd without most of the faces in it being buried in their phones, it doesn’t seem quite as far fetched as it used to be portrayed. We are already exceedingly further dependent on our devices than anyone is truly comfortable with. Spike Jonze capitalizes on that concern without actually getting preachy or sinister, while at the same time opening a window into the possibilities and allowing us to draw our own conclusions and moral stances on the subject. The response to the movie was hugely positive and it was considered a strong contender for the Best Picture category at the Oscars. It didn’t win but it did win an Academy Award and a Golden Globe for Best Original Screenplay. With an original score composed by Arcade Fire, it was also considered for an Oscar for Best Original Score and Best Original Song. Joaquin Pheonix is left alone to create most of the dramatic tension, emotional conflict, and plot-furthering entirely on his own physically-speaking, an incredible accomplishment. Although he was overlooked for an Oscar nomination, he was nominated for a Golden Globe for his performance. This futuristic love story holds just enough logic to be thought provoking, and its charming portrayal of a future society that seems only a few steps removed from our own makes for a mesmerizing watch. [Scarlet]

Boyhood

We’re constantly fighting time: we rush to work in a sweat, take medicine to extend our lives, agonize as we procrastinate instead of doing our taxes. Our war against time—the most unyielding, unstoppable thing in the universe—is a losing one, but with the advent of movies we discovered a way to cheat time, in a sense. With movies we can capture moments and relive them again and again, trick ourselves into thinking we’re someplace else, and even spend time with those who’ve long since left our world. It’s a wondrous thing. Richard Linklater’s Boyhood captures time in a most fascinating way, stuffing a sprawling 12-year story about a boy and his family into a 165-minute bottle of modest, elegant filmmaking. All movies help us cope with time in their own way, but what’s special about Boyhood is that it beautifully reminds us how lucky we are that we need not face life alone. The people who stand by us through all the ups and downs, through the little triumphs and the massive failures, through the mundane, ephemeral moments that fill up most of our days—they’re our greatest gift. Boyhood isn’t about extraordinary people. It’s about ordinary people who’ve shared lots of time together, and in doing so have found love in one another. It’s a film about family in the deepest sense of the word, and there have been few films over the past half-decade more worthy of your precious time. [Bernard]

The Tree of Life

It’s 2011, and the venerable Terrence Malick is set to make his Cannes debut with a new film. Six years passed since The New World, his last film, which was met with hushed response (though, many would later cozy up to it). So, nobody could really tell how The Tree of Life  would play out. Aside from Malick, the flames of intrigue were stoked by the casting of Brad Pitt and Sean Penn, and rumblings of it being Malick’s most personal film to date. Fast track to 2015, and The Tree Of Life is a Palme D’Or winner, an important player in the year that turned out to be The Year Of Jessica Chastain (forget Pitt and Penn, though the former is outstanding here as well), and a gargantuan critical darling. Case in point: Sight & Sound released their updated Greatest Films Poll (updated once every 12 years) in 2012, and The Tree Of Life was just shy of cracking the Top 100.

All of this makes complete sense to most of us here at Way Too Indie (it’s No. 1 on my personal list, too). Terrence Malick has found a way to tap into the wonders of the human experience unlike any other director in the decade so far. Malick’s vision, and his creative impulse to search for God in the details of this semi-autobiographical story of a remembered childhood, is perfectly partnered with Emmanuel Lubezki’s luminous cinematography. The result is a limitless exploration into the essence of what makes us who we are, what we take from our mothers (materialized in Chastain’s eternal mother) and fathers (materialized in Pitt’s mortal father), and where God fits into it all. Like Linklater’s quest for life’s defining moments in Boyhood, Malick’s quest is similar, but with him the end result is a much more solemn and incorporeal one. More than any other film of the century so far, The Tree Of Life expands the boundaries of the art to its furthest corners. [Nik]

See the rest of our Best Movies Of The Decade lists!

View Other Lists of this Feature:
Best 50 Movies Of The Decade So Far (#50 – #41)
Best 50 Movies Of The Decade So Far (#40 – #31)
Best 50 Movies Of The Decade So Far (#30 – #21)
Best 50 Movies Of The Decade So Far (#20 – #11)

Among the many organizations dolling out awards for the best movies and performances of 2014, The International Online Film Critics’ Poll this morning announced the winners of their biannual awards for excellence in film. These awards, now in their fourth cycle, allow for a comparison between different movie seasons to pick the absolute best of the biennium. The IOFCP was voted on this year by over 100 film critics from USA, UK, Italy, Spain, Canada, France, Mexico, Australia, India, Turkey, Kyrgyzstan, South Africa, Serbia, Poland, Romania, Estonia, Pakistan, Switzerland, Denmark and Sweden.

2014 awards front-runner Boyhood took home the IOFCP’s award for Best Film. The film’s director Richard Linklater and one of its stars, Patricia Arquette, won the votes for Best Director and Best Supporting Actress, respectively.

The other movies that won in three categories were The Grand Budapest Hotel (Best Ensemble Cast, Best Production Design and Best Original Score) and Gravity (Best Cinematography, Best Editing and Best Visual Effects). While The Grand Budapest Hotel was also nominated for Best Film, Gravity was not.

2015 Oscars frontrunners Michael Keaton (Birdman) and JK Simmons (Whiplash) won the votes for Best Actor and Best Supporting Actor; however, 2014 Oscar-winner Cate Blanchett won Best Actress for her performance in Blue Jasmine.

4th Bi-Annual IOFCP Awards

TOP TEN FILMS (alphabetical list)
12 Years a Slave
Blue is the Warmest Colour
Birdman
Boyhood
Her
Ida
The Grand Budapest Hotel
The Great Beauty
The Imitation Game
The Wolf of Wall Street

BEST PICTURE
12 Years a Slave
Birdman
Boyhood
The Grand Budapest Hotel
The Wolf of Wall Street

BEST DIRECTOR
Alejandro González Iñárritu – Birdman
Richard Linklater – Boyhood
Wes Anderson – The Grand Budapest Hotel
Paolo Sorrentino – The Great Beauty
Roman Polanski – Venus in Fur

BEST ACTOR
Michael Keaton – Birdman
Ralph Fiennes – The Grand Budapest Hotel
Mads Mikkelsen – The Hunt
Benedict Cumberbatch – The Imitation Game
Leonardo DiCaprio – The Wolf of Wall Street

BEST ACTRESS
Cate Blanchett – Blue Jasmine
Adele Exarchopoulos – Blue is the Warmest Colour
Rosamund Pike – Gone Girl
Julianne Moore – Still Alice
Marion Cotillard – The Immigrant

BEST SUPPORTING ACTOR
Edward Norton – Birdman
Ethan Hawke – Boyhood
Jared Leto – Dallas Buyers Club
Mark Ruffalo – Foxcatcher
J.K. Simmons – Whiplash

BEST SUPPORTING ACTRESS
Lupita Nyong’o – 12 Years a Slave
Emma Stone – Birdman
Sally Hawkins – Blue Jasmine
Patricia Arquette – Boyhood
June Squibb – Nebraska

BEST ENSEMBLE CAST
12 Years a Slave
Birdman
Boyhood
The Grand Budapest Hotel
The Imitation Game

BEST ORIGINAL SCREENPLAY
Birdman
Boyhood
Calvary
Her
The Grand Budapest Hotel

BEST ADAPTED SCREENPLAY
12 Years a Slave
Gone Girl
Snowpiercer
The Imitation Game
The Wolf of Wall Street

BEST CINEMATOGRAPHY
Birdman
Gravity
Ida
Nebraska
The Great Beauty

BEST PRODUCTION DESIGN
Gravity
Her
Mr. Turner
The Grand Budapest Hotel
The Imitation Game

BEST EDITING
Birdman
Boyhood
Gravity
The Grand Budapest Hotel
The Wolf of Wall Street

BEST ORIGINAL SCORE
Gravity
Her
Interstellar
The Grand Budapest Hotel
The Imitation Game

BEST VISUAL EFFECTS
Dawn of the Planet of the Apes
Interstellar
Gravity
Guardians of the Galaxy
The Hobbit: The Battle of the Five Armies

One of the most controversial films of 2013 was the French film Blue is the Warmest Color, which received top honors winning the Palme d’Or at this year at the Cannes Film Festival. The film also scored high on our site wide Best Films of 2013 voting and was my personal favorite film of the year. If you haven’t gotten a chance to see the film yet, then today is your lucky day. We are giving away one free online streaming code for Blue is the Warmest Color on SundanceNow. US residents only.

Blue is the Warmest Color is available to watch TODAY on Cable VOD, SundanceNOW and other digital outlets (iTunes, Amazon Streaming, PS3 Playstation Unlimited, XBOX Zune, Google PLAY and YouTube).

How do you enter the giveaway?

Leave a comment at the bottom or email: dustin AT waytooindie.com what your favorite film of 2013 was.

Blue is the Warmest Color trailer

If my predictions of the 2014 Film Independent Spirit Awards hold true (nobody hold their breath), 12 Years A Slave would walk away the big winner with a projected total of 5 awards. I believe the rest of the field will be much more spread out with Before Midnight, Nebraska, Upstream Color, Fruitvale Station, Blue Jasmine, and others going home with one award. After winning the Palm d’Or and taking the Cannes Film Festival by storm this year, Blue is the Warmest Color‘s momentum has started to slow down and may no longer the obvious frontrunner anymore. Though I am still picking it to win Best International Film here, it is against fierce competition.

For better or worse, I am posting my Spirit Award predictions one day ahead of the official announcement of Oscar nominees. In just 45 days the Spirit Award winners will be officially announced and will dictate whether or not I can beat my prediction accuracy from last year of 53% (7 out of 13). In addition to picking the winners for each category below, I explain the reasoning behind my picks in detail under the categories.

Watch IFC on Saturday, March 1st at 10PM ET to see how my predictions hold up.

List of 2014 Independent Spirit Award Predictions:

(My prediction for the winners are highlighted in bold red font)

Best Feature:

12 Years A Slave
All Is Lost
Frances Ha
Inside Llewyn Davis
Nebraska

Best Director:

Shane Carruth – Upstream Color
J.C. Chandor – All Is Lost
Steve McQueen – 12 Years A Slave
Jeff Nichols – Mud
Alexander Payne – Nebraska

Best First Feature:

Blue Caprice
Concussion
Fruitvale Station
Una Noche
Wadjda

Best Male Lead:

Bruce Dern – Nebraska
Chiwetel Ejiofor – 12 Years A Slave
Oscar Isaac – Inside Llewyn Davis
Michael B. Jordan – Fruitvale Station
Matthew McConaughey – Dallas Buyers Club
Robert Redford – All Is Lost

Best Female Lead:

Cate Blanchett – Blue Jasmine
Julie Delpy – Before Midnight
Gaby Hoffmann – Crystal Fairy
Brie Larson – Short Term 12
Shailene Woodley – The Spectacular Now

Best Supporting Male:

Michael Fassbender – 12 Years A Slave
Will Forte – Nebraska
James Gandolfini – Enough Said
Jared Leto – Dallas Buyers Club
Keith Stanfield – Short Term 12

Best Supporting Female:

Melonie Diaz – Fruitvale Station
Sally Hawkins – Blue Jasmine
Lupita Nyong’o – 12 Years A Slave
Yolanda Ross – Go For Sisters
June Squibb – Nebraska

Best International Film: (Award given to the director)

A Touch of Sin
Blue is the Warmest Color
Gloria
The Great Beauty
The Hunt

Best Cinematography:

Sean Bobbitt – 12 Years a Slave
Benoit Debie – Spring Breakers
Bruno Delbonnel – Inside Llewyn Davis
Frank G. Demarco – All Is Lost
Matthias Grunsky – Computer Chess

Best Documentary:

The Act Of Killing
After Tiller
Gideon’s Army
The Square
Twenty Feet From Stardom

John Cassavetes Award: (Given to the best feature made for under $500,000; award given to the writer, director, and producer)

Computer Chess – Andrew Bujalski
Crystal Fairy – Sebastian Silva
Museum Hours – Jem Cohen
Pit Stop – Yen Tan
This Is Martin Bonner – Chad Hartigan

Best Editing:

Shane Carruth & David Lowery – Upstream Color
Jem Cohen & Marc Vives – Museum Hours
Jennifer Lame – Frances Ha
Cindy Lee – Una Noche
Nat Sanders – Short Term 12

Best Screenplay:

Woody Allen – Blue Jasmine
Julie Delpy, Ethan Hawke, Richard Linklater – Before Midnight
Nicole Holofcener – Enough Said
Scott Neustadter & Michael H. Weber – The Spectacular Now
John Ridley – 12 Years a Slave

Best First Screenplay:

Lake Bell – In A World
Joseph Gordon-Levitt – Don Jon
Bob Nelson – Nebraska
Jill Soloway – Afternoon Delight
Michael Starburry – The Inevitable Defeat Of Mister & Pete

Apparently 2013 was a good year to have the number twelve in your movie title (12 Years a Slave and Short Term 12) as well as an abstract meaning of the word color (Blue Is the Warmest Color and Upstream Color). And speaking of color, a couple highly praised films (Frances Ha and Nebraska) were shot only in black-and-white. While some films void of color such as Escape From Tomorrow and Computer Chess did not make our list, a film set in the black void of space did (Gravity). It was especially a good year for Matthew McConaughey and Brie Larson as each of them are in multiple films on our list.

Eight members of our staff voted on their favorite films of the year by submitting their own ranked list—those individual lists were mathematically converted into the list you see below. Before you dive into the results it is important to note that we were unable to see three potential list-changers before our voting deadline (Her, American Hustle, and The Wolf of Wall Street).

Way Too Indie’s Best Films of 2013

#25  Wadjda

Veiling undercurrents of politics and gender inequality with the simple tale of a smart girl who wants a bike is nothing short of genius – particularly when the story is done with so much gumption. Wadjda, both the first film to be shot in Saudi Arabia as well as the first to be directed by a Saudi woman, may not be infallible, but it is a sharp commentary that pierces to the heart of things just as well as its eponymous protagonist pierces our own hearts with her quirky, rebellious ways. It’s hard not to be inspired by her, and she’s bound to be a fantastic role model for young children everywhere, reminding us in small yet tenderly humorous ways how ridiculous prescribed gender identities can be. As WTI’s very own Bernard Boo points out in his review of the film, the male characters in this film are secondary, which is such a fantastic way for first-time director Haifaa Al-Mansour to give her female characters a prominent voice. Wadjda is not just a commendable debut; it’s an inspiring and charismatic journey. [Pavi]
Wadjda Review | Watch Trailer

#24  All is Lost

Emerging director JC Chandor’s debut, Margin Call, was a wordy chamber piece featuring an all-star cast, but for his second effort, All is Lost, he takes a refreshingly approach, shrinking his cast to a sole lead (the legendary Robert Redford) and giving him a mere three lines of dialog. Redford and Chandor’s tale of a lone man at sea is a textbook on visual and auditory harmony, with the sights and sounds of the swirling elements pounding Redford’s boat transporting us to another place entirely (an astonishing cinematic feat only matched this year by Alfonso Cuaron’s Gravity). We’re given virtually zero background about Redford’s character, but by the end of the film, we learn volumes about his mental, physical, and spiritual resilience. Is his fight for survival an exhibition of courage, or is it all for naught? [Bernard]
All is Lost Review | Watch Trailer

#23  About Time

I was so full of optimism and adoration for Richard Curtis when I left the cinema after seeing About Time. He was able to once again capture the hearts of all wishful thinkers and hopeless romantics, including myself. A really lovely tale staring two great leads that you fall in love with almost immediately, however, as Ananda states in her review, anyone more concerned with space-time continuums or time travel paradoxes should just bypass this film, as it really is just another Richard Curtis movie and thus all sense of reality should be left at the door.

But it is another great British classic to go alongside Bridget Jones, Love Actually and Notting Hill – you know those select few films that you’re never sure it’s okay to admit loving, but everyone really wants to. Well I’m singing it loud and proud, I thoroughly enjoyed About Time as much as any film I have seen this year and I can’t wait for its purchase release so that I can re-watch it over and over again. [Amy]
About Time Review | Watch Trailer

#22  Drinking Buddies

Considering Drinking Buddies had roughly ten times the amount of budget that director Joe Swanberg had for previous films, many thought this to be his crossover into the Hollywood system. And in some ways it is true. But considering the budget was only half a million dollars (well under most films you see nowadays), it really puts in perspective where Swanberg came from. For the first time in his career Swanberg is able to afford household names (Olivia Wilde, Jake Johnson, Anna Kendrick, and Ron Livingston) to star in his film. Drinking Buddies explores the dangers of getting too romantically involved with your close friends by utilizing familiar and relatable situations. Through the use of improvised dialog the film comes across as natural feeling as a film can be. The best moments of Drinking Buddies are when emotional tension is displayed without dialog because the characters are so well established that we know exactly what they are thinking. [Dustin]
Drinking Buddies Review | Watch Trailer

#21  The World’s End

The final film in Edgar Wright’s Cornetto Trilogy and by far the best. The World’s End is a highly entertaining science fiction/comedy hybrid that constantly fires on all cylinders. Simon Pegg leads a fantastic cast with the likes of Rosamund Pike, Martin Freeman, Paddy Considine, Eddie Marsan and Pierce Brosnan. Pegg, who has never been better, is Gary; an alcoholic who still holds on to memories of him and his mates trying to finish off the world’s toughest pub crawl. They try again 20 years later only this time find themselves in the midst of a colossal fight with intergalactic androids. The film is typical Wright, but as The World’s End barrels along to its conclusion, it starts to unravel a lot of layers that were not present at the beginning. What starts out as a high flying comedy soon turns into unexpected drama about alcoholism. Wright and his compatriots blaze a wonderful yarn about a group of men trying to reconnect with their youth and at the same time Wright constructs a meaningful film about poor souls who fall prey to the bottomless pits of despair. The World’s End is high class entertainment. [Blake]
Watch Trailer

#20  A Hijacking

Known to most people as that other film about Somalian pirates that came out this year (both of which were covered here), A Hijacking is one of many terrific dramas to make its way out of Denmark in the last several years. A corporate executive (Søren Malling), who starts the film giddy about successfully negotiating a sale, faces a tougher battle when one of his company’s ships is taken over by pirates. Malling’s character and a chef on the overtaken ship (Pilou Asbæk) are the film’s main focus, and as both men are trapped (one psychologically with guilt and a bruised ego, the other physically) we see them slowly crack under the pressure. Director Tobias Lindholm knows how to pile on the tension too: Negotiation scenes are filmed from Malling’s end, making them unbearably tense when things go awry, and the film’s biggest shocks come from its casual way of letting the audience see the passing of time. Captain Phillips may get all the fame this year, but A Hijacking gets the glory. [CJ]
Watch Trailer

#19  Mud

Mud was one of my Sundance London spotlight films; I had never seen McConaughey in such a sincere role. A story based upon one man’s pursuit to survive after being crushed by the undefeatable higher powers of the world. Mud (Matthew McConaughey) banishes himself to a deserted island surrounded on all sides by the Mississippi Rivers so that he will not be imprisoned for the crime he has been accused of committing in defence of the woman he loves. Two adventurous boys stumble upon Mud and once captured by the thrill of their secret mission to help him, do everything in their power to fight for what they believe to be right, freeing a man of the burdens that he carries and to find the woman he loves. [Amy]
Mud Review | Watch Trailer

#18  Stoker

Arriving the same year American Spike Lee would remake his seminal Oldboy, Park Chan Wook’s highly anticipated first English-language feature proved a kind of poetic statement of call-and-response to the tendency for North American cinema to re-make excellent films not just more linguistically palatable, but better while they’re at it.

Stoker stood in the face of this logic, bringing Park’s every lurid aesthetic chop together with richly stylized performances to deliver one of the year’s most disturbing, incessantly watchable, so-bad-it’s-brilliant American pictures. Matthew Goode is like a porcelain mask bound to crack and cut, his Uncle Charlie sharing a fascinating, not-so-deftly suggestive relationship with Mia Wasikowska’s elliptical India that’s at Stoker‘s brittle core. But it’s the boldness of violence – both physical and psychological – and consistency of vision that elevates the picture: at this rate, Park could direct the phone book and it’d be among the most considerately art-designed films of the year. [Jansen]
Stoker Review | Watch Trailer

#17  Side Effects

Who knew that Steven Soderbergh’s supposedly final theatrical feature would turn out to be his one of his most entertaining? Beginning with a stressed out wife (Rooney Mara) unable to handle her white-collar criminal husband (Channing Tatum) returning home after serving his sentence, she starts seeing a therapist (Jude Law) who prescribes her a new drug that apparently cures Mara of all her troubles. That is, until she winds up murdering her husband without any recollection of performing the act. The film’s first half is an unsettling look at the way prescription meds can alter one’s body, but it’s Soderbergh’s (and Scott Z. Burns’ terrific screenplay’s) distinct shift in the second half that elevates the film to something more than basic genre fare. Some people may be upset at the film’s blatant manipulation, but it makes a chilling impact. Just how much do we know about what we put in our bodies, and what it can make us capable of? Side Effects‘ second half makes us question everything we’ve seen beforehand, all while indulging in elements from 70s paranoia and 80s/90s psychosexual thrillers. The fact that Soderbergh can weave all these things together seamlessly speaks to his talents, and we can only hope that he’ll reconsider his early retirement from filmmaking. [CJ]
Side Effects Review | Watch Trailer

#16  Fruitvale Station

Following slain 22-year-old Bay Area resident Oscar Grant’s last day on earth, docu-drama Fruitvale Station is a resounding debut feature from young director Ryan Coogler, who’s as prone to take Hollywood by storm as his star, Michael B. Jordan. Coogler’s script pushes forward forcefully and cuts deeply, and along with Jordan’s breakout performance as Grant it helps to remind us of the humanity at stake in headline-grabbing travesties of this nature. [Bernard]
Fruitvale Station Review | Watch Trailer

#15  Dallas Buyers Club

Matthew McConaughey’s towering turn as HIV-positive Texas tough-guy and alternative drug entrepreneur Ron Woodruff in Dallas Buyers Club has earned the once oft-shirtless Hollywood hunk much deserved universal praise. But standing right alongside him, towering perhaps even taller, is Jared Leto, whose eerily lived-in portrayal of gregarious transsexual Rayon is one of the most entertaining and charming actor transformations of the year. The script is solid, as are the supporting players, directing (by Jean-Marc Vallée), and visuals, but the dual career-defining performances by the male leads propel Dallas Buyers Club up to the #15 slot on our list. [Bernard]
Dallas Buyers Club Review | Watch Trailer

#14  Spring Breakers

I went back and forth many times on whether or not to place Harmony Korine’s visual and aural sensation of a film as the #1 on my personal list before eventually settling for the #2 slot. Korine’s Spring Breakers perfectly captures and presents the ethos of American youth. I realize most kids are not gun toting, sex zealots like the heroines presented here, the mentality of “I’m gonna get mine at any cost,” reverberates incessantly throughout the film. Spring Breakers is a visual wonderland. Korine uses every trick in the book to fully illustrate the colorful scenery of the Floridian debauchery-soaked landscape. His brilliant visuals are backed by a maniacal score by dubstep master Skrillex and electro wizard Cliff Martinez. Even though the film may be tough to watch at times, there’s no denying the magnetic power Korine holds over you. Spring Breakers is dazzling. [Blake]
Spring Breakers Review | Watch Trailer

#13  The Great Beauty

Immediately after watching Paolo Sorrentino’s The Great Beauty I had a sudden urge to go visit a city that I have not considered before. This is due to the dazzling imagery of the landscapes, architecture, and culture of a modern-day Rome that is contained within this appropriately titled film. Every frame in the film feels like it could be made into a painting, then showcased in an art museum, and be admired by the very same people that are portrayed in the film. The film is ultimately about a man who has trouble finding true beauty in his elegant lifestyle even though beauty is all around him. Sorrentino certainly finds this great beauty while making a statement about the current Italian culture. [Dustin]
The Great Beauty Review | Watch Trailer

#12  The Place Beyond The Pines

Because The Place Beyond The Pines came out so early in the year (March) it is easy for the film slip under the radar for end of the year lists. Fortunately, Derek Cianfrance’s film has stuck with me the entire year due to the amazing cinematography (one of the best opening sequences of the year) that pairs perfectly with the unsettling score of the film. This is a classic three act story that is best experienced going into it without knowing much about it—which the trailer brilliantly abides by not giving away too much details. The acting performances from Ryan Gosling and Brady Cooper are simply stunning. If I had to vote for 2013’s Most Forgotten About Film, The Place Beyond The Pines would be at the top. [Dustin]
The Place Beyond The Pines Review | Watch Trailer

#11  The Spectacular Now

As much about coming of age as it is about love in its many forms, The Spectacular Now is a sweet yet poignant tale that tips its hat to the American high school drama whilst thoroughly surpassing it in the best way. Our expectations of the genre are as humbled as popular high-school kid Sutter is when he meets Aimee, the quiet nerdy girl he’s never noticed before. Sutter has a “live in the now” philosophy, but Aimee’s arrival in his life switches everything up, forcing them both to confront their deepest issues. Director James Ponsoldt gives us all of the teen awkwardness and curiosity with none (or at least very little) of the melodrama, and Miles Teller and Shailene Woodley are spectacular leads; though the film is primarily about Sutter, Woodley steals the show with her quiet love and concern that manifest themselves so plainly in her every expression. This film feels familiar and yet so much more complicated than anything we know, all at the same time. [Pavi]
The Spectacular Now Review | Watch Trailer

#10  Upstream Color

How to recommend a film that will undoubtedly leave you scratching your head and utterly perplexed? Perhaps by saying, never have you enjoyed being confused in so lovely a fashion. Upstream Color, the second of Shane Carruth’s bewildering directorial feats, is about two people who find each other after going through traumatic experiences where their minds were manipulated and now they are missing memories and much of their bank accounts. It’s a film full of beautiful scenery and strange happenings. It’s about many things: falling in love, finding and creating identity, solving a mystery, exacting revenge, and all sorts of other weird things one could only start to fathom upon repeat viewings. However you interpret it, there’s no denying Upstream Color is truly intriguing to watch. [Ananda]
Upstream Color Review | Watch Trailer

#9  The Hunt

Mads Mikkelsen is at his best as a teacher who is wrongly accused of molesting a young girl at his school. The Hunt is undoubtedly hard to watch at times as family and close friends turn their back on him, all while Thomas Vinterberg’s direction ratchets up the intensity with each passing minute. Everything about the film is top notch and the supporting actors are great; but the film is owned by Mikkelsen (Best Actor Winner at Cannes) who is onscreen for nearly every second. Sure, its melodrama, but Vinterberg and company are more than up for the challenge; and they succeed with flying colors. [Blake]
The Hunt Review | Watch Trailer

#8  The Act of Killing

No other film this year touches Joshua Oppenheimer’s The Act of Killing when it comes to the amount of jaw-dropping, shake your head in disbelief moments. Whether it’s former generals happily describing how they strangled innocent people with razor wire, government officials openly extorting business owners, a talk show audience applauding war crimes, or the sight of one of these generals dry heaving as he comes to understand what he did, The Act of Killing has no shortage of completely surreal and unbelievable moments. And I haven’t even described the re-enactments of the Indonesian military coup that the film uses as its starting point, all of which accentuate the stomach-churning feeling that goes on throughout Oppenheimer’s film. But what really makes The Act of Killing such a landmark documentary is the way Oppenheimer turns the footage around on viewers. Does Indonesia’s explicit endorsement of these actions somehow make them better or worse than the way Americans (or more generally people in the first world) implicitly endorse similarly oppressive and reprehensible behaviour? What makes The Act of Killing such a sickening film to watch is the realization that, as bone-chilling and incomprehensible this world is, it isn’t too far off from ours. [CJ]
The Act of Killing Review | Watch Trailer

#7  Nebraska

I grew up spending several weeks a year in my grandparent’s Midwestern town of 300 people. A town where the local bar was the only hangout and where many a conversation among neighbors revolved around the cars they drove and the farming equipment they operated. Alexander Payne (a fellow Midwesterner and Nebraska native) might as well have been writing about that town, tapping into the subtle humor found in the mundane of Midwestern life portrayed in Nebraska. I could go on and on about Bruce Dern’s performance as an old man duped into believing a marketing scheme is actually promising him a million dollars if he travels back to his native Nebraska to claim it, but the truth is his son, played with affable sincerity by Will Forte, provides a vantage point that is easy to relate to. A son coming to understand, or at least accept, the motivations that fuel his father forward and make up the man he has become in old age. Shot in beautiful black and white, which only adds to the lost-in-time feel of a small town, the film is quiet and hilarious, not to mention deeply touching. [Ananda]
Nebraska Review | Watch Trailer

#6  Short Term 12

A film that centers around a foster care facility, Short Term 12 could have been a clichéd attempt at manipulating our emotions with contrived characters and scenes. Instead, thanks to heartfelt direction from Destin Cretton as well as spectacular performances from the cast, it is exactly the opposite – a touching, genuine film that quietly leaves its mark in our hearts. Brie Larson gives the performance of her career, and possibly of the year, as Grace, a young woman who supervises at the facility, and is much loved by the children there. When a new arrival means she begins to confront her own past, and the traumas that lie within it, we’re drawn even further into her world, sympathizing with her emotions as though they touch us in our very flesh. The supporting cast are no less captivating, coming together to create a beautifully crafted film that confronts us with the reality of many lives. [Pavi]
Short Term 12 Review | Watch Trailer

#5  Blue Is the Warmest Color

Controversy has surrounded Blue Is The Warmest Color ever since the film premiered Cannes and won the grand Palm d’Or prize. Early on the debate was if the powerful ten minute lesbian sex scene was too graphic, too long, or just simply too taboo. However as time passed the lead actresses admitted to feeling mistreated during the filmmaking process (especially in the sex scenes) which sparked a whole new round of controversy. But with all this attention on the film, perhaps it proves that sometimes bad press is good press.

Putting aside all of the buzz surrounding the film, what you need to know is that Blue Is the Warmest Color is first and foremost about self-discovery and the intimate passion of love. The acting performances from the two female leads (Adèle Exarchopoulos and Léa Seydoux) are so effective that their love for each other is never in question. However, the film does not sugar cost the reality of love when it displays the tragedy of heartbreak. Blue Is the Warmest Color worth seeking out regardless of your stance on the film’s subject matter. This is masterful filmmaking and among the best cinema has to offer this year. [Dustin]
Blue Is the Warmest Color Review | Watch Trailer

#4  12 Years a Slave

One advantage to press screenings, sometimes, is there’s not yet much hype or disdain for a film. I had no idea going in the effect 12 Years a Slave would have on me. I knew director Steve McQueen was known for his effectiveness with serious subject matter, but am ashamed to admit I had never actually gotten around to watching one of his films. And now I worry that all the hype will actually deter some people from seeing the film, because when does one ever get in the mood to watch a film I personally described as “sobering and immensely difficult to watch”? But this film is in the Top 5 for good reason. Amazing performances and gripping imagery aside, 12 Years a Slave is storytelling at its most powerful. And partly what makes it so powerful is because it’s a true story. Every American should be made to watch this film, because each of us have exactly what this character/man of history, Solomon Northup, had, lost, and then regained: freedom. And McQueen’s cinematic reminder of just how invaluable a thing like that is, will always be timely. [Ananda]
12 Years a Slave Review | Watch Trailer

#3  Before Midnight

The third in Richard Linklater’s unprecedented touristic walk-n-talk romance series, Before Midnight checks in on Celine and Jesse 9 years after Before Sunset and 18 years after Before Sunrise. The couple’s once fresh, vigorous attraction to one another has begun to sour a bit as mounting mid-life stresses strip their romance bare, but Delpy and Hawke’s unparalleled chemistry is as crackling as ever. The progressively contentious (and riveting) interactions between the now-jaded lovers bring a raw intensity not found in the film’s predecessors, and as the stinging reality begins to emerge that the yappy soul mates may have reached the end of lovers’ lane, a profound feeling of desperation rocks their world, and ours. This is the first time we’re seeing these precious-to-many characters get their hands dirty, and not only is this the best film in the series, it’s damn near close to perfection. [Bernard]
Before Midnight Review | Watch Trailer

#2  Frances Ha

What can I say about Noah Baumbach’s Frances Ha? The film is totally original and rare gem unlike anything I have ever seen before. I can honestly say that I’ve never felt so connected to a character as I did with Frances (wonderfully played by Greta Gerwig); she is the embodiment of every emotion and defeat we go through. Yet, instead of actually being defeated she rises and she fights—never letting the wavering flame of hope burn out, and that is what I found humbling, encouraging, and powerful. The script found in Frances Ha was flawless and brilliant; it was stylistic in every sense of the word. Frances Ha has my sincerest recommendation and is completely worthy of its high rank on our list. I challenge you to watch the film and not fall in love with Frances. [Amy]
Frances Ha Review | Watch Trailer

#1  Gravity

Our film of the year is a fitting champion in form, tone, and technique within such a banner year for the art precisely because it worked counter to so many worrying trends pervading in the industry as of late. A muscular 90 minute story in a sea of 2 1/2 hour-plus 3D action epics released every year, perhaps the highest praise we can offer Gravity is that it can (and often does) work without words. Is storytelling through visuals not cinema at its most romantic? Does that not emphatically harken back to movies at their most alluring and pure?

Gravity is a feat of virtuoso visuals and its excellent use of 3D technology goes without saying; it’s been said everywhere. But what most impressed me is Alfonso Cuaron’s unsentimental, almost ruthlessly direct narrative: you-are-there at tis most cathartically palpable, and relentlessly potent. This is space. and these are the turmoils of space. and here are two characters that can help you relate: even if you didn’t buy into the higher allegorical ambitions of Gravity, that much of the story, at least, touches everybody. And that is a thrilling thing for cinema. [Jansen]
Gravity Review | Watch Trailer

Our Best Films of 2013 Infographic

Was I a little upset that I did not catch Blue Is the Warmest Color while at the Cannes Film Festival earlier this year? Absolutely I was. Especially when the film went on to win the top prize of the Palme d’Or as well as awards for both leading actresses (a Cannes first). In my defense, it was not the most buzz generating film during the festival (Inside Llewyn Davis probably was), but the people I talked to who did see the film where generally blown away by it. Now having just watched it myself, I can see why.

Blue Is the Warmest Color begins with Adèle (Adèle Exarchopoulos) as a junior in high school who catches the eye of an attractive male in her school. The problem is her circle of friends seem much more interested in him than she does. They are the ones that encourage her to go on dates with him and then demand to hear the details afterwards. It is heartbreaking when Adèle begins to think that something is wrong with her because she has no feelings for him. When she cannot take it anymore and breaks down emotionally, so do we.

There is something that Adèle cannot stop thinking about—the girl with short blue hair (Léa Seydoux) that she once passed while crossing the street. Slowly but surely she begins to figure out that it was not specifically the guy she was seeing that she was not attracted towards, but males in general. With no help from her so-called friends (who tease and tell her names), Adèle decides to follow her urges of being with a woman instead of a man. Over the next few years of her life she will continue to have hills to climb and hurdles to jump over, no matter what her gender preference or relationship status is at the time.

This is every bit of a story about self-discovery as it is a story about love. While the story is quite good on its own, its effectiveness is only made possible by the amazing acting talent from both Adèle and Lea. Due to their tremendous performances, the fight that breaks out between the two leads late in the film very well may be the most emotionally charged scenes of the year. It is quite astonishing just how realistic and intimate the relationship between these two souls is represented on screen.

It is a real shame that the first thing you will likely hear about the film is the lesbian sex scenes and the gratuitous amounts of nudity. I say this because Blue Is the Warmest Color is a three-hour love story in which a ten-minute scene should not define it as a whole. Yes, there is a graphic sex scene involving two girls. Whether or not it goes on for a bit longer than it needed to is certainly up for debate, but the scene is not just thrown in haphazardly to boost ratings or as an excuse to show off the female body–it is part of the narrative between two passionate people who are madly in love with each other.

The amount of blue found throughout the film is not exactly surprising given the title. The most obvious instance is the color of Emma’s hair, but blue color is found all over. A blueish tint of light pulses in a gay bar where an overwhelming amount of people are wearing blue shirts. The bed sheets were blue where Adèle experiences her first sexual lesbian experience. At a gay pride parade, you guessed it, more blue. These visual themes add to the overall cinematical experience, but also serves as an essential part of symbolism in the story as it defines this time period of her life.

Same-sex marriage was still not legal in the country of France during the Cannes Film Festival where Blue Is the Warmest Color first premiered. On day 3 of the festival the bill was passed and France became the thirteenth country to permit same-sex marriage. Although this film had no direct influence on the ruling, you cannot help but see the how important and relevant the film’s subject matter is in these times. By no means is this the first pro gay or lesbian film, but it is certainly one of the most powerful to date.

To think of Abdellatif Kechiche’s Blue Is the Warmest Color as simply a lesbian love story is border-line insulting. Sure that serves as the underlying framework, but the film is equally, if not more, about the discovery of one’s own sexuality and the social pressures that are attached with it. It is remarkable that not only does the three-hour runtime never test your patience, but by the end the film actually leaves you wanting more. That alone is a testament of just how masterful the filmmaking, storytelling, and performances are in Blue Is the Warmest Color. In many ways the film is among some of the best cinema has to offer this year—every bit as poignant and rewarding as you could hope for a film to be.

Blue Is the Warmest Color trailer:

With 288 features set to play over 11 days, it was a tough process to narrow down our top picks for the Toronto International Film Festival. TIFF can function as a way to catch up on some of the hotter festival titles from earlier this year, or as a sign of what 2014’s films will look like. Our list, which you can read below, covers a wide range from genre films to Cannes winners and even some movies generating Oscar buzz. Way Too Indie will be covering the Toronto International Film Festival this year, and we hope to catch as many films on this list as we possibly can along with many other films as well. This year the Toronto International Film Festival takes place from September 5th to 15th.

Way Too Indie’s 10 Must See Films at TIFF 2013

#10 – The Sacrament

It’s safe to say that Ti West is one of the best American horror filmmakers working today. The House of the Devil is one of the best horror movies in the last ten years, a nostalgic and atmospheric throwback to the 80’s that still causes the creeps even on repeat viewings. His follow-up, The Innkeepers, was a ghost story that had the audacity to spend time (!) developing its characters before putting them in horrifying situations. Now West is back with The Sacrament, a film that takes its inspiration from Jim Jones’ cult in the 1970’s. A reporter takes a camera crew along with him to investigate a cult that his sister ran off to, where presumably things will take a turn for the worse. With Eli Roth producing, The Sacrament might finally expose mainstream audiences to something truly scary for once. [CJ Prince]

#9 – The Great Beauty

I’m quite the admirer of Paolo Sorrentino’s last film, This Must Be the Place (I believe I placed it at #2 on my top ten list of that respective year). I thought it was a very well-directed piece on the oddities that liter America, spearheaded by a delicious lead performance by Sean Penn (one of his best). Sorrentino has finally followed up that overlooked gem with The Great Beauty. The film played at Cannes earlier in the year, where it was met with a lot of acclaim. Our very own Dustin Jansick liked the film too. The Great Beauty has been described as a 2.5 hour love letter to Rome, its history and its beauty. If I were attending this year’s edition of Toronto, this film would be near the top of my must see list. [Blake Ginithan]

#8 – Devil’s Knot

“The West Memphis Three.” No, that’s not the name of the bluegrass band that plays at your local farmer’s market. It’s the handle that was given to three teenagers who were wrongfully accused of brutally murdering three children in 1993 and subsequently sentenced to life in jail, despite the lack of hard evidence. Devil’s Knot, Atom Egoyan’s (The Sweet Hereafter, Chloe) crime drama take on the murderous tale as inspired by Mara Leveritt’s book of the same name, has got an interesting assemblage of a cast gracing the screen: the criminally underrated Elias Koteas; the mysterious, moody up-and-comer Dane DeHaan (Chronicle); the always-solid-sometimes-great Reese Witherspoon; the supremely talented Colin Firth. And that’s just a handful. The reaction coming out of TIFF (where it’s making its world premiere) will likely be a good indication of how big a splash the genre thriller will make in the domestic market. [Bernard Boo]

#7 – Dallas Buyers Club

Matthew McConaughey has been a popular name across the festival circuit this year. I had the chance to see his memorable performance in Mud at Sundance London in April and was extremely impressed by both actor and film. I’d love for Dallas Buyers Club to be another example of McConaughey’s diversity as the plot has a lot of potential to explore controversial topics and utilise the dramatic undertones which should ensue. [Amy Priest]

#6 – The Double

Not to be confused with the awful film of the same name starring Richard Gere from a couple years ago, The Double is Richard Ayoade’s directorial follow-up to his fantastically whimsical and charming coming-of-age film Submarine. The Double follows a man (Jesse Eisenberg) who discovers his doppelganger (also played by Eisenberg) who is constantly one-upping him in life and at work. Billing itself as a comedy comes as no surprise given Ayoade’s comedic background in The IT Crowd, The Mighty Boosh, and Garth Marenghi’s Darkplace, which are all reasons even for some to get excited for the newest work baring his name. [Dustin Jansick]

#5 – Kill Your Darlings

In addition to getting some of the best buzz out of Sundance this year, Kill Your Darlings already has almost unanimous approval among critics who’ve seen it. The film dreams up the early beginnings of the Beat generation’s founding heroes, Allen Ginsberg (Daniel Radcliffe), William S. Burroughs (Ben Foster), Jack Kerouac (Jack Huston), and Lucien Carr (Dane DeHaan). Brought together during their time at Columbia University in the 40s, their friendship was made bond by a gruesome murder, which sets the backdrop to what appears to be an edgy, sexy and intriguing film. These sexually-curious, substance-abusive, and creatively-unconventional icons provide excellent inspiration for a young cast and relatively young director. John Krokidas’s film is, as he put it in an interview, a sort of “origin” story for these influential anti-conformist heroes. Furthermore, with change happening all over the world as more accepted norms are challenged, it’s no surprise that several films have been released of late focusing on this historic cultural shift. I look forward to it’s October release to see it myself. [Ananda Dillon]

#4 – Blue is the Warmest Color

It’s a little difficult, after seeing the movie poster—the soft, pale skin; the snow-white background; the seductive, dangerous, staring eye; the shimmering splash of arctic-blue hair accompanied by color-matched brushstrokes that spell out B-L-U-E—to not be more than a little intrigued by Abdellatif Kechiche’s upcoming French drama, Blue is the Warmest Color. Then there’s the massive, snowballing hype surrounding the film that’s been steadily picking up speed ever since it came out of Cannes as the belle of the ball—critics adored it, and it won the Palme d’Or, which pretty much secures it a spot in the “must-see” column in the back of every cinephile’s mind. If that’s not enough to entice you, the film has received an NC-17 rating due to the extended, “is it porn?” lesbian sex scenes between stars Adéle Exarchopoulos and Léa Seydoux. [Bernard Boo]

#3 – Don Jon

Written, directed and starring Joseph Gordon-Levitt, this comedy is set to impress many at TIFF this year as many film fans are already calling it a “great directorial debut” and with recommendations across the board. Jon Martello (Levitt) is the modern day Don Juan who objectifies everything in his life, especially women. His journey is focused on learning about love and appreciating life. I’m very excited to see it succeed, but also very sad I’ll have to wait for it’s UK release on 15th November compared to my lucky U.S. friends who’ll catch it on 27th September. [Amy Priest]

#2 – Gravity

I have been waiting for Alfonso Cuaron to follow up Children of Men for 7 years. Seven. Years. Well folks, he’s finally back and boy does it seem like he’s ready to drop another masterpiece on us. Already being met with raves from the Venice Film Festival, Gravity is ready to take the fall awards circuit by storm. Certainly on its way to getting multiple technical Oscar nominations, Cuaron’s Gravity tells the story of two astronauts who, after a freak accident, are stranded in the nothingness of space. George Clooney and Sandra Bullock anchor the film’s heart and soul, but it’s the Mexican director and his cinematographer (Emmanual Lubezki) who will probably steal the show here. Word is that Cuaron still loves his long tracking shots and Gravity has one that is nearly 13 minutes in length. This isn’t just my most anticipated film of the festival, it’s my most anticipated of the year. [Blake Ginithan]

#1 – 12 Years A Slave

It is almost hard to believe that 12 Years A Slave will only be Steve McQueen’s third feature film because an amateur quality is never sensed in his work. Going by his (short) track-record of films we can expect two things from this new film; a commanding narrative with powerful cinematography and Michael Fassbender (who has appeared in every film of his to date). McQueen’s last film Shame stunned audiences all-over, including its premiere at the Venice Film Festival, but because of the explicit sexual content in the film it earned the dreaded NC-17 rating, which essentially forfeited its chances to receive any Oscar nods. However, people are already gossiping about 12 Years A Slave being an Oscar contender ahead of its premiere because the film has all the checkmarks the Academy favors: American historical drama, award winning cast, and an mid-October release date. Time will tell how much, if any, accolade 12 Years A Slave will earn, but we will count earning the top spot on our list as its first. [Dustin Jansick]

It’s over a month away until the Toronto International Film Festival, which means that the waves of announcements have started to come in. Today, TIFF announced 75 films that will be playing in their Gala and Special Presentations programs this year. And, as expected, there will be plenty of big titles playing.

Some of the bigger premieres announced today include: Atom Egoyan’s West Memphis three drama Devil’s Knot, Bill Condon’s Wikileaks film The Fifth Estate which will also serve as the opening film of this year’s fest, Steve McQueen’s 12 Years A Slave, the directorial debuts of Jason Bateman and Mike Myers, Dallas Buyer’s Club, and new features from the likes of Richard Ayoade, Kelly Reichardt, Nicole Holofcener, Jonathan Glazer and David Gordon Green, just to name a few.

Titles from other film fests include Sundance hit Kill Your Darlings, Palme D’Or Winner Blue is the Warmest Color, and other Cannes competition entries like The Great Beauty, Only Lovers Left Alive, Young & Beautiful, and WTI favourite Like Father, Like Son. The full list with descriptions are below, and there are plenty more films not mentioned here that will be worth seeing come September.

This is only the first batch of movies, as the final tally of films is expected to be closer to 300. The Toronto International Film Festival will run from September 5th to 15th, and Way Too Indie will be there to cover the proceedings. For more information, check out the festival’s official site at: www.tiff.net/thefestival.

American Dreams in China [Peter Ho-Sun Chan], Hong Kong/China North American Premiere
1985. In the midst of China’s economic reform period, three college students — an overzealous hillbilly who refuses to accept his destiny of being a farmer; a cynical intellectual with a superiority complex; and a romantic idealist who wants to be a movie star — bond through a shared fascination with Western literature, music and movies, and an ambition to live the American dream. This sets the three on a roundabout course toward the foundation of a wildly successful English-language tutorial institute — but sudden fame and fortune could tear the friends and their vision apart.

The Art of the Steal [Jonathan Sobol], Canada World Premiere
Crunch Calhoun, a third-rate motorcycle daredevil and part-time art thief, teams up with his snaky brother to steal one of the most valuable books in the world. But it’s not just about the book for Crunch — he’s keen to rewrite some chapters of his own past as well. Starring Jay Baruchel, Matt Dillon, Kurt Russell, Terence Stamp, Katheryn Winnick, Chris Diamantopoulos, Kenneth Welsh and Jason Jones.

August: Osage County [John Wells], USA World Premiere
August: Osage County tells the dark, hilarious and deeply touching story of the strong-willed women of the Weston family, whose lives have diverged until a family crisis brings them back to the Midwest house they grew up in, and to the dysfunctional woman who raised them. Based on Tracy Letts’ Pulitzer Prize– and Tony Award–winning 2007 play of the same name. Starring Meryl Streep, Julia Roberts, Ewan McGregor, Benedict Cumberbatch, Abigail Breslin, Sam Shepard and Chris Cooper.

Cold Eyes [Cho Ui-seok and Kim Byung-seo], South Korea North American Premiere
A veteran leader of the Special Crime Department Surveillance Team, and a rookie female detective with gifted powers of reasoning, keep a close watch over a vicious criminal organization. After continuous surveillance and pursuit, they come close to arresting the organization but commit a fatal mistake. Starring Seol Kyung-gu, Jung Woo-sung, Han Hyo-joo, Lee Jun-ho and Jin Gyeong.

Opening Night Film

The Fifth Estate [Bill Condon], USA World Premiere
Triggering an age of high-stakes secrecy, explosive news leaks and the trafficking of classified information, WikiLeaks forever changed the game. This dramatic thriller based on real events reveals the quest to expose the deceptions and corruptions of power that turned an Internet upstart into the 21st century’s most fiercely debated organization. The story begins as WikiLeaks founder Julian Assange (Benedict Cumberbatch) and his colleague Daniel Domscheit-Berg (Daniel Brühl) team up to become underground watchdogs of the privileged and powerful. On a shoestring, they create a platform that allows whistleblowers to anonymously leak covert data, shining a light on the dark recesses of government secrets and corporate crimes. Soon, they are breaking more hard news than the world’s most legendary media organizations combined. But when Assange and Berg gain access to the biggest trove of confidential intelligence documents in U.S. history, they battle each other and a defining question of modern time: what are the costs of keeping secrets in a free society — and what are the costs of exposing them? The film also stars David Thewlis, Stanley Tucci, Laura Linney, Anthony Mackie and Dan Stevens.

The Grand Seduction [Don McKellar], Canada World Premiere
The tiny Newfoundland outport of Tickle Head is set for financial salvation if they can secure a petrochemical plant. Their odds are slim, as a town doctor is needed to land the contract. When one candidate, Dr. Paul Lewis, lands in their lap, the town rallies to seduce him to stay beyond his one-month trial. Paul’s fondness for the village grows as the month passes — though he’s clueless to the fact that everything he has grown to love is an elaborate web of lies. Starring Brendan Gleeson, Taylor Kitsch, Gordon Pinsent, Liane Balaban and Mark Critch.

Kill Your Darlings [John Krokidas], USA International Premiere
Kill Your Darlings is the true story of friendship and murder that led to the birth of an entire generation. This is the previously untold story of murder that brought together a young Allen Ginsberg (Daniel Radcliffe), Jack Kerouac (Jack Huston), and William Burroughs (Ben Foster) at Columbia University in 1944, providing the spark that would lead to their Beat Revolution. Also stars Dane DeHaan, Michael C. Hall, David Cross, Jennifer Jason Leigh, Elizabeth Olsen, Kyra Sedgwick and John Cullum.

Closing Night Film

Life of Crime [Daniel Schechter], USA World Premiere
Based on the novel The Switch, by Elmore Leonard, Louis (John Hawkes) and Ordell (yasiin bey, a.k.a. Mos Def) — two common criminals in 1970s Detroit — kidnap the housewife (Jennifer Aniston) of a corrupt real estate developer (Tim Robbins) and hold her for ransom. Also stars Isla Fisher, Will Forte, and Mark Boone Jr.

The Love Punch [Joel Hopkins], France World Premiere
Retirement at last! Middle-aged and divorced, company owner Richard Jones is looking forward to a worry-free existence as he arrives at his office on his last day of work. Much to his dismay, he discovers that the management buyout of his company was fraudulent. The company is now bankrupt and the employee pension fund — including his own — has been embezzled. Enlisting the help of his ex-wife Kate, Richard sets out to track down the shady businessman behind the fraud. Before they know it, Richard and Kate are caught up in a cat-and-mouse caper across Europe in a whirlwind of intrigue, mad chases and jewellery theft that could restore Richard’s future — and might just rekindle the couple’s romance. Starring Emma Thompson and Pierce Brosnan.

The Lunchbox [Ritesh Batra], India/France/Germany North American Premiere
Middle class housewife Ila is trying once again to add some spice to her marriage, this time through her cooking. She desperately hopes this new recipe will finally arouse some kind of reaction from her neglectful husband. Unbeknownst to her, the special lunchbox she prepared is mistakenly delivered to miserable office worker Saajan, a lonely man on the verge of retirement. Curious about the lack of reaction from her husband, Ila puts a little note in the following day’s lunchbox which sparks a series of exchanged notes between Saajan and Ila. Evolving into an unexpected friendship between anonymous strangers, they become lost in a virtual relationship that could jeopardize both of their realities.

Mandela: Long Walk to Freedom [Justin Chadwick], South Africa World Premiere
Mandela: Long Walk to Freedom is based on South African President Nelson Mandela’s autobiography of the same name, which chronicles his early life, coming of age, education, and 27 years in prison before working to rebuild his country’s once-segregated society. Starring Idris Elba as Nelson Mandela, and Naomie Harris as Winnie Mandela.

Supermensch The Legend of Shep Gordon [Mike Myers], USA World Premiere
In 1991, music manager Shep Gordon held Mike Myers over a barrel a few weeks before shooting Wayne’s World regarding an Alice Cooper song Myers wanted to use in the film. They have been close friends ever since. Twenty-two years later, the story of Gordon’s legendary life in the über-fast lane is now told in Myers’ directorial debut. And this time it’s Myers who has Gordon over a barrel. Shep Gordon: capitalist, protector, hedonist, pioneer, showman, shaman… Supermensch!

Special Presentations

12 Years a Slave [Steve McQueen], USA World Premiere
12 Years a Slave tells the incredible true story of Solomon Northup, a free black man from upstate New York who was kidnapped and sold into slavery in 1841 and finally freed in 1853. The story is a triumphant tale of one man’s courage and perseverance to reunite with his family that serves as an important historical and cultural marker in American history. Starring Chiwetel Ejiofor, Michael Fassbender, Benedict Cumberbatch, Paul Dano, Garret Dillahunt, Paul Giamatti, Scoot McNairy, Lupita Nyong’o, Adepero Oduye, Sarah Paulson, Brad Pitt, Michael Kenneth Williams and Alfre Woodard.

All Is By My Side [John Ridley], United Kingdom World Premiere
Jimmy James, an unknown backup guitarist, left New York City for London, England in 1966. A year later he returned — as Jimi Hendrix. All Is By My Side brings authenticity and poignancy to the story of the man behind the legend, and of the people who loved and inspired him. Starring Imogen Poots, Hayley Atwell, André Benjamin, Ruth Negga and Adrian Lester.

Attila Marcel [Sylvain Chomet], France World Premiere
Paul is in his 30s. An orphan since the age of two, he lives with his aunts in a Parisian apartment and leads a reclusive existence as a pianist. That is, until the day he meets Madame Proust.

Bad Words [Jason Bateman], USA World Premiere
After discovering a loophole in the rules of the National Spelling Bee, a disruptive 40-year-old, Guy Trilby, dominates the pre-pubescent competition. An unlikely friendship occurs, however, when an awkward Indian boy is taken with Guy’s rough edges. Meanwhile, a female reporter uncovers Guy’s true motivation for competing. Starring Jason Bateman, Allison Janney, Phillip Baker Hall, Kathryn Hahn and Rohan Chand.

Belle [Amma Asante], United Kingdom World Premiere
Belle is inspired by the true story of Dido Elizabeth Belle, the illegitimate bi-racial daughter of an aristocratic Royal Navy Admiral. Belle’s lineage affords her certain privileges, yet also prevents her from fully participating in the traditions of her social standing. Against the ridged boundaries of proper society, Belle finds both her true self and true romance — and influences her uncle to take a role in bringing an end to slavery. Starring Gugu Mbatha Raw, Tom Wilkinson, Sam Reid, Sarah Gadon, Miranda Richardson, Penelope Wilton, Tom Felton, James Norton, Matthew Goode and Emily Watson.

Blue Is the Warmest Color/Adèle: Chapters 1 & 2 [Abdellatif Kechiche], France North American Premiere
At 15, Adèle doesn’t question it: girls go out with boys. Her life is changed forever when she meets Emma, a young woman with blue hair, who will allow her to discover desire, to assert herself as a woman and as an adult. In front of others, Adèle grows, seeks herself, loses herself, and finds herself. Starring Léa Seydoux and Adèle Exarchopoulos.

Burning Bush [Agnieszka Holland], Czech Republic North American Premiere
This epic, long-form docudrama chronicles the political, legal, and moral fallout that followed after Czech student protester Jan Palach set himself on fire in protest against government repression in 1969.

Parkland [Peter Landesman], USA North American Premiere
November 22nd, 1963 was a day that changed the world forever — when young American President John F. Kennedy was assassinated in Dallas, Texas. This film follows, almost in real time, a handful of individuals forced to make split-second decisions after an event that would change their lives and forever alter the world’s landscape: the young doctors and nurses at Parkland Hospital, the chief of the Dallas Secret Service, the unwitting cameraman who captured what has become the most watched and examined film in history, the FBI Agents who had gunman Lee Harvey Oswald within their grasp and Vice President Lyndon Johnson who had to take control of a country in a moment’s notice. Thrust into a scenario of unprecedented drama with unimaginable consequences, these key characters respond with shock, outrage, determination and courage. Woven together, their seemingly disparate perspectives make one of the most thrilling and powerful stories never told. Starring Paul Giamatti, Colin Hanks, Zac Efron, Billy Bob Thornton, Jacki Weaver and Marcia Gay Harden.

The Railway Man [Jonathan Teplitzky], Australia/United Kingdom World Premiere
Based on the bestselling novel, The Railway Man tells the extraordinary and epic true story of Eric Lomax, a British Army officer who is tormented as a prisoner of war at a Japanese labour camp during World War II. Decades later, Lomax discovers that the Japanese interpreter he holds responsible for much of his treatment is still alive and sets out to confront him, and his haunting past. Starring Academy Award–winner Colin Firth, Jeremy Irvine, and Academy Award–winner Nicole Kidman, the film is a powerful tale of survival, love and redemption.

The Right Kind of Wrong [Jeremiah Chechik], Canada World Premiere
The Right Kind of Wrong is a romantic comedy about a failed-writer-turned-dishwasher and fearless dreamer who risks everything to show the girl of his dreams all that is right with the wrong guy. Starring Ryan Kwanten, Sara Canning and Catherine O’Hara.

Rush [Ron Howard], United Kingdom/Germany International Premiere
Two-time Academy Award winner Ron Howard (A Beautiful Mind, Frost/Nixon) teams up once again with two-time Academy Award–nominated writer Peter Morgan (Frost/Nixon, The Queen) on Rush — a spectacular big-screen re-creation of the merciless 1970s rivalry between James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl). Also features Olivia Wilde, Alexandra Maria Lara and Pierfrancesco Favino.

Shuddh Desi Romance [Maneesh Sharma], India Canadian Premiere
Shuddh Desi Romance follows a fresh and very real love story about the hair-raising minefield between love, attraction and commitment. A romantic comedy that tells it like it is, providing a candid look at the affairs of the heart in today’s desi heartland. Starring Rishi Kapoor, Sushant Singh Rajput, Parineeti Chopra and Vaani Kapoor.

Can a Song Save Your Life? [John Carney], USA World Premiere
Can a Song Save Your Life? finds Gretta (Keira Knightley) alone in New York City after being heartbroken by her musician boyfriend (Adam Levine). She finds laughter and rejuvenation with a down-on-his-luck record producer (Mark Ruffalo) who recognizes her musical talent and opens up an entire city of possibility for both of them.

Cannibal (Caníbal) [Manuel Martín Cuenca], Spain/Romania/Russia/France World Premiere
Carlos is the most prestigious tailor in Granada, but he’s also a murderer in the shadows. He feels no remorse, no guilt, until Nina appears in his life. She will make him realize the true nature of his actions and, for the first time, love awakens. Carlos is evil incarnate. Nina is pure innocence. And Cannibal is a demon’s love story.

Dallas Buyers Club [Jean-Marc Vallée], USA World Premiere
In this fact-based drama, Matthew McConaughey portrays real-life Texas electrician Ron Woodroof, an ordinary man who found himself in a life-or-death battle with the medical establishment and pharmaceutical companies. In 1985, Ron was blindsided with an HIV diagnosis and given 30 days to live. With medications still restricted in the US and the country still divided over how to combat the virus, Ron procured non-toxic alternative treatments from all over the world through both legal and illegal means. To avoid government sanctions against selling non-approved medicines and supplements, Ron established a “buyers club” for fellow HIV-positive people, giving them access to his supplies. Also stars Jennifer Garner and Jared Leto.

Devil’s Knot [Atom Egoyan], USA World Premiere
A haunting true mystery about the infamous killing of three children in a small Arkansas town. The police charge and convict three teens, aka the West Memphis Three, for committing the murders during an alleged satanic ritual, but a mother and investigator suspect that the truth may be even worse. Starring Reese Witherspoon, Colin Firth, Kevin Durand, Bruce Greenwood, Mireille Enos, Dane DeHaan and Stephen Moyer.

The Disappearance of Eleanor Rigby: Him and Her [Ned Benson], USA
The Disappearance of Eleanor Rigby: Him and Her is a two-part love story seen through the eyes of a New York couple trying to understand each other as they cope with personal hardship. The different perspectives of “Him” and “Her” result in two films with a unique look into one couple’s attempt to reclaim the life and love they once had. Starring Jessica Chastain, James McAvoy, Nina Arianda, Viola Davis, Bill Hader, Ciarán Hinds, Isabelle Huppert, William Hurt, and Jess Weixler.

Dom Hemingway [Richard Shepard], United Kingdom World Premiere
Dom Hemingway is a larger-than-life safecracker with a loose fuse who is funny, profane, and dangerous. After 12 years in prison, looking to collect what he’s owed for keeping his mouth shut for protecting his rich mobster boss, he finds himself drawn back to the perils and pleasures of his criminal lifestyle — while trying to reconnect with his estranged daughter. Starring Jude Law, Richard E. Grant, Demian Bichir, Emilia Clarke, Kerry Condon, Jumayn Hunter, Madalina Ghenea and Nathan Stewart-Jarrett.

Don Jon [Joseph Gordon-Levitt], USA Canadian Premiere
Jon Martello (Joseph Gordon-Levitt) is a strong, handsome, good old fashioned guy. His buddies call him Don Jon due to his ability to “pull” a different woman every weekend, but even the finest fling doesn’t compare to the bliss he finds alone in front of the computer watching pornography. Barbara Sugarman (Scarlett Johansson) is a bright, beautiful, good old fashioned girl. Raised on romantic Hollywood movies, she’s determined to find her Prince Charming and ride off into the sunset. Wrestling with good old fashioned expectations of the opposite sex, Jon and Barbara struggle against a media culture full of false fantasies to try and find true intimacy in this unexpected comedy.

The Double [Richard Ayoade], United Kingdom World Premiere
Simon is a timid man, scratching out an isolated existence in an indifferent world. He is overlooked at work, scorned by his mother, and ignored by the woman of his dreams. The arrival of a new co-worker, James, serves to upset the balance. James is both Simon’s exact physical double and his opposite — confident, charismatic and good with women. To Simon’s horror, James slowly starts taking over his life. Starring Jesse Eisenberg, Mia Wasikowska, Wallace Shawn and Noah Taylor.

Enough Said [Nicole Holofcener], USA World Premiere
Eva (Julia Louis-Dreyfus) is a divorced soon-to-be empty-nester wondering about her next act. Then she meets Marianne (Catherine Keener), the embodiment of her perfect self. Armed with a restored outlook on being middle-aged and single, Eva decides to take a chance on her new love interest Albert (James Gandolfini) — a sweet, funny and like-minded man. Things get complicated when Eva discovers that Albert is in fact the dreaded ex–husband of Marianne. This sharp insightful comedy follows Eva as she humorously tries to secretly juggle both relationships and wonders whether her new favourite friend’s disastrous ex can be her cue for happiness. Also stars Toni Collette, Ben Falcone, Eve Hewson and Tavi Gevinson.

Exit Marrakech [Caroline Link], Germany International Premiere
When 17-year-old Ben visits his father Heinrich in Marrakech, it is the start of an adventurous journey through a foreign country with a picturesque charm and a rough beauty where everything appears possible — including the chance that father and son will lose each other for good, or find one another again.

Felony [Matthew Saville], Australia World Premiere
Three detectives become embroiled in a tense struggle after a tragic accident that leaves a child in critical condition. One is guilty of a crime, one will try to cover it up, and the other attempts to expose it. How far will these men go to disguise and unravel the truth?

For Those Who Can Tell No Tales [Jasmila Žbanić], Bosnia and Herzegovina World Premiere
Kym, an Australian tourist, decides to travel to Bosnia. Her guidebook leads her to Višegrad, a small town steeped in history, on the border of Bosnia and Serbia. After a night of insomnia in the ‘romantic’ Hotel Vilina Vlas, Kym discovers what happened there during the war. She can no longer be an ordinary tourist and her life will never be the same again.

Gloria [Sebastián Lelio], Chile/Spain North American Premiere
Gloria is 58 years old and still feels young. Making a party out of her loneliness, she fills her nights seeking love in ballrooms for singles. This fragile happiness changes the day she meets Rodolfo. Their intense passion — to which Gloria gives everything, as she feels it may well be her last — leaves her dancing between hope and despair. Gloria will have to pull herself together and find a new strength to realize that in the last act of her life, she could burn brighter than ever.

Going Away (Il est parti dimanche) [Nicole Garcia], France World Premiere
Two unlikely friends — a supply teacher and a lonely young boy suspended between two estranged parents — embark on a weekend motorcycle voyage full of surprises and unforeseen consequences in this surprisingly tough, unsentimental drama.

Gravity [Alfonso Cuarón], USA/United Kingdom North American Premiere
Gravity is a heart-pounding thriller that pulls its audience into the infinite and unforgiving realm of deep space. Sandra Bullock plays Dr. Ryan Stone, a brilliant medical engineer accompanied on her first shuttle mission by veteran astronaut Matt Kowalsky (George Clooney). On a seemingly routine spacewalk, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalsky completely alone — tethered to nothing but each other and spiraling out into the blackness. The deafening silence tells them they have lost any link to Earth… and any chance for rescue. As fear turns to panic, every gulp of air eats away at what little oxygen is left. But their only way home may be to go further out into the terrifying expanse of space.

The Great Beauty (La Grande Bellezza) [Paolo Sorrentino], Italy North American Premiere
Rome, in the splendour of summer. Jep Gambardella — a handsome man with irresistible charm despite his advancing age — enjoys the city’s social life to the fullest. He attends chic dinners and parties where his sparkling wit is always welcome. A successful journalist, in his youth he wrote a novel that earned him a literary award and a reputation as a frustrated writer. Weary of his lifestyle, Jep sometimes dreams of taking up his pen again, haunted by memories of a youthful love which he still hangs on to. But can he overcome his profound disgust for himself and others in a city whose dazzling beauty sometimes leads to creative paralysis?

Half of a Yellow Sun [Biyi Bandele], Nigeria/United Kingdom World Premiere
An epic love story: Olanna and Kainene are glamorous twins, living a privileged city life in newly independent 1960s Nigeria. The two women make very different choices of lovers, but rivalry and betrayal must be set aside as their lives are swept up in the turbulence of war.

Hateship Loveship [Liza Johnson], USA World Premiere
Johanna Parry moves to a new town to work for Mr. McCauley and his granddaughter, Sabitha. Sabitha and her friend trick Johanna into a one-way epistolary romance with Sabitha’s father Ken. Johanna lights on fire, and commits a criminal act to get to her lover, who barely knows she exists. Starring Kristen Wiig, Guy Pearce, Christine Lahti, Nick Nolte, Hailee Steinfeld, Jennifer Jason Leigh and Sami Gayle.

Ida [Pawel Pawlikowski], Poland World Premiere
Poland, 1962. Anna is a novice, an orphan brought up by nuns in a convent. Before she takes her vows, she is determined to see Wanda, her only living relative. Wanda tells Anna that Anna is Jewish. Both women embark on a journey not only to discover their tragic family story, but who they really are and where they belong, questioning their religions and beliefs.

L’intrepido [Gianni Amelio], Italy North American Premiere
This film is an affecting and timely story about a middle-aged, precariously employed jack-of-all-trades in Milan who doggedly tries to get by in an unfeeling city while trying to retain his dignity and his passions.

The Invisible Woman [Ralph Fiennes], United Kingdom World Premiere
Nelly (Felicity Jones), a happily-married mother and schoolteacher, is haunted by her past. Her memories, provoked by remorse and guilt, go back in time to follow the story of her relationship with Charles Dickens (Ralph Fiennes), with whom she discovered an exciting but fragile complicity. Dickens — famous, controlling and emotionally isolated within his success — falls for Nelly, who comes from a family of actors. The theatre is a vital arena for Dickens, a brilliant amateur actor and a man more emotionally coherent on the page and on stage than in life. As Nelly becomes Dickens’ muse and the focus of his passion, for both of them secrecy is the price — and for Nelly a life of “invisibility”. Also stars Kristin Scott Thomas, Tom Hollander, Joanna Scanlan, Perdita Weeks, Amanda Hale, Tom Burke, John Kavanagh and Michael Marcus.

Joe [David Gordon Green], USA North American Premiere
A gripping mix of friendship, violence and redemption erupts in the contemporary backwoods South in this adaptation of Larry Brown’s novel, celebrated at once for its grit and its deeply moving core. Academy Award winner Nicolas Cage comes back to his indie roots in the title role as the hard-living, hot-tempered ex-con Joe Ransom, who is just trying to dodge his own instinct for trouble until he meets a hard-luck kid (Tye Sheridan) who awakens in him a fierce and tender-hearted protector. Based on the novel Big Bad Love by the late Larry Brown.

Labor Day [Jason Reitman], USA World Premiere
Labor Day centres on 13-year-old Henry Wheeler as he confronts the pangs of adolescence while struggling to be the man of the house and care for his reclusive mother, Adele. On a back-to-school shopping trip, Henry and his mother encounter Frank Chambers, a man both intimidating and clearly in need of help, who convinces them to take him into their home and later is revealed to be an escaped convict. The events of this long Labor Day weekend will shape all of them for the rest of their lives. Starring Kate Winslet, Josh Brolin, Gattlin Griffith, Tobey Maguire, Clark Gregg, JK Simmons, Brooke Smith and James Van Der Beek.

Like Father, Like Son [Hirokazu Kore-eda], Japan North American Premiere
Two families are forced to choose between nature and nurture — between their natural sons and the sons they have raised.

Man of Tai Chi [Keanu Reeves], USA/China North American Premiere
A young martial artist’s unparalleled Tai Chi skills land him in a highly lucrative underworld fight club. Starring Keanu Reeves and Tiger Chen.

MARY Queen of Scots [Thomas Imbach], France/Switzerland North American Premiere
A queen who lost three kingdoms. A wife who lost three husbands. A woman who lost her head.

Mystery Road [Ivan Sen], Australia International Premiere
Detective Jay Swan returns to his outback hometown to investigate the brutal murder of a teenage girl found in a drain under a highway outside of town. Starring Aaron Pedersen, Ryan Kwanten and Hugo Weaving.

Night Moves [Kelly Reichardt], USA North American Premiere
When do legitimate convictions demand illegal behaviors? What happens to a person’s political principles when they find their back against the wall? Night Moves is the story of three radical environmentalists coming together to execute the most spectacular direct action event of their lives: the explosion of a hydroelectric dam. Starring Jesse Eisenberg, Dakota Fanning and Peter Sarsgaard.

Omar [Hany Abu-Assad], Palestine North American Premiere
Trust and identity are stretched like wire in an impossible West Bank love story. Desires for individual and collective freedom collide. Mere sacrifice isn’t enough; betrayal is the only way to survive.

One Chance [David Frankel], USA World Premiere
This film follows the remarkable and inspirational true story of Paul Potts, a shy, bullied shop assistant by day and an amateur opera singer by night. Paul became an instant YouTube phenomenon after being chosen by Simon Cowell for Britain’s Got Talent. Wowing audiences worldwide with his phenomenal voice, Paul went on to win the competition and the hearts of millions. BAFTA winner James Corden stars as Paul Potts and is supported by an ensemble cast that includes Julie Walters, Mackenzie Crook, Colm Meaney, Jemima Rooper and Alexandra Roach.

Only Lovers Left Alive [Jim Jarmusch], USA North American Premiere
Set against the romantic desolation of Detroit and Tangier, an underground musician, deeply depressed by the direction of human activities, reunites with his resilient and enigmatic lover. Their love story has already endured several centuries at least, but their debauched idyll is soon disrupted by her wild and uncontrollable younger sister. Can these wise but fragile outsiders continue to survive as the modern world collapses around them? Starring Tom Hiddleston, Tilda Swinton, Mia Wasikowska, John Hurt and Anton Yelchin.

The Past (Le Passé) [Asghar Farhadi], France/Italy North American Premiere
Following a four year separation, Ahmad returns to Paris from Tehran, upon his French wife Marie’s request, in order to finalize their divorce proceedings. During his brief stay, Ahmad discovers the conflicting nature of Marie’s relationship with her daughter Lucie. Ahmad’s efforts to improve this relationship soon unveil a secret from their past.

Philomena [Stephen Frears], United Kingdom North American Premiere
Based on the 2009 investigative book by BBC correspondent Martin Sixsmith, The Lost Child of Philomena Lee, this film focuses on the efforts of Philomena Lee (Judi Dench), mother to a boy conceived out of wedlock — something Philomena’s Irish-Catholic community didn’t have the highest opinion of — and given away for adoption in the United States. Following church doctrine, she was forced to sign a contract that wouldn’t allow for any sort of inquiry into her son’s whereabouts. After starting a family years later in England and, for the most part, moving on with her life, Philomena meets Sixsmith (Steve Coogan), a BBC reporter with whom she decides to track down her long-lost son.

Pioneer (Pionér) [Erik Skjoldbjærg], Norway/Germany/Sweden/France/Finland International Premiere
Pioneer is set in the early 80s, at the beginning of the Norwegian oil boom. Enormous oil and gas deposits are discovered in the North Sea and the authorities aim to bring the oil ashore through a pipeline from depths of 500 meters. A professional diver, Petter is obsessed with reaching the bottom of the Norwegian Sea. Along with his brother Knut he has the discipline, strength and courage to take on the world’s most dangerous mission. But a sudden, tragic accident changes everything. Petter is sent on a perilous journey where he loses sight of who’s pulling the strings. Gradually he realizes that he is in way over his head and that his life is at stake.

Prisoners [Denis Villeneuve], USA World Premiere
How far would you go to protect your family? Keller Dover (Hugh Jackman) is facing every parent’s worst nightmare. His six-year-old daughter, Anna, is missing, together with her young friend, Joy, and as minutes turn to hours, panic sets in. The only lead is a dilapidated RV that had earlier been parked on their street. Heading the investigation, Detective Loki (Jake Gyllenhaal) arrests its driver, Alex Jones (Paul Dano), but a lack of evidence forces his release. As the police pursue multiple leads and pressure mounts, knowing his child’s life is at stake the frantic Dover decides he has no choice but to take matters into his own hands. But just how far will this desperate father go to protect his family? Also features Melissa Leo, Maria Bello, Viola Davis and Terrence Howard.

Quai d’Orsay [Bertrand Tavernier], France World Premiere
Alexandre Taillard de Vorms is a force to be reckoned with. With his silver mane and tanned, athletic body, he stalks the world stage as Minister of Foreign Affairs for France, waging his own war backed up by the holy trinity of diplomatic concepts: legitimacy, lucidity, and efficacy. Enter Arthur Vlaminck. Hired to write the minister’s speeches, Arthur must contend with the sensibilities of his boss and the dirty dealings within the Quai d’Orsay, the ministry’s home.

REAL [Kiyoshi Kurosawa], Japan North American Premiere
Koichi and Atsumi are lovers who have known each other all their lives. A year ago, Atsumi apparently tried to commit suicide and has been in a coma since then. Through ‘sensing’, a type of neurological treatment allowing communication with a comatose patient, Koichi tries to find out why she tried to kill herself. Starring Takeru Satoh and Haruka Ayase.

Starred Up [David Mackenzie], United Kingdom World Premiere
When troubled teenager Eric is transferred to an adult prison, the new environment serves only to amplify his ultra-violent behavior. He soon comes to the attention of the prison kingpin, who assigns his lieutenant Nev to keep the boy under control. The problem however is that Nev is Eric’s father. They have not seen each other for 12 years, and an uncomfortable stand-off begins as father and son battle to gain some kind of understanding after a decade of mistrust and separation.

Third Person [Paul Haggi]s, Belgium World Premiere
Love, passion, mystery, betrayal and hope infuse Paul Haggis’ new feature, which follows the interrelated stories of three couples in three cities, Rome, New York and Paris — each with its own secrets. Starring Liam Neeson, Mila Kunis, Adrien Brody, James Franco, Olivia Wilde, Maria Bello, Kim Basinger and Moran Atias.

Those Happy Years (Anni Felici) [Daniele Luchetti], Italy World Premiere
Rome, 1974. Wannabe artist Guido feels trapped by his conventional life and beautiful, bourgeois wife, Serena. Their young sons, Dario and Paolo, are caught between their parents’ passion for each other, their rows and their infidelities. The film tells of those happy years, which seemed so unhappy at the time…

Tracks [John Curran], United Kingdom/Australia North American Premiere
Tracks is the true story of Robyn Davidson who trekked from Alice Springs in Central Australia through almost 2,000 miles of sprawling desert to the Indian Ocean, accompanied only by her loyal dog and four unpredictable camels. This epic and remarkable journey into Australia’s last great frontier was captured by charismatic National Geographic photographer Rick Smolan. These challenging and emotional nine months in the desert marked a new beginning for Robyn that would change the rest of her life. Starring Mia Wasikowska and Adam Driver.

Under the Skin [Jonathan Glazer], USA/United Kingdom North American Premiere
The story of an alien in human form on a journey through Scotland. Part road movie, part science fiction, part real, it’s a film about seeing the world through alien eyes. Starring Scarlett Johansson.

Violette [Martin Provost], France/Belgium World Premiere
Born out of wedlock early in the last century, Violette Leduc meets Simone de Beauvoir in postwar Saint-Germain-des-Près. An intense lifelong relationship develops between the two women authors, based on Violette’s quest for freedom through writing and on Simone’s conviction that she holds in her hands the destiny of an extraordinary writer.

Visitors [Godfrey Reggio], USA World Premiere
Thirty years after Koyaanisqatsi, with support from Philip Glass and Jon Kane, Godfrey Reggio’s portrayal of modern life in Visitors leapfrogs beyond earth-bound filmmakers. Presented by Steven Soderbergh, Visitors offers an experience of technology and transcendental emotionality, taking viewers to the moon and back to confront them with themselves.

Walesa. Man of Hope. (Walesa. Czlowiek z nadziei.) [Andrzej Wajda], Poland North American Premiere
How was it possible that a single man influenced contemporary world so significantly? This film is an attempt to capture the phenomenon of a common man’s metamorphosis into a charismatic leader — an attempt to see how a Gdansk shipyard electrician fighting for workers’ rights awakened a hidden desire for freedom in millions of people.

We are the Best! (Vi är bäst!) [Lukas Moodysson], Sweden North American Premiere
Stockholm 1982. Bobo, Klara and Hedvig are three 13-year-old girls who roam the streets. Girls who are brave and tough and strong and weak and confused and weird. Girls who have to take care of themselves way too early. Girls who heat fish fingers in the toaster when mom is at the pub. Girls who start a punk band without any instruments, even though everybody says that punk is dead.

Le Week-End [Roger Michell], United Kingdom World Premiere
Nick and Meg Burrows return to Paris, the city where they honeymooned, to celebrate their 30th wedding anniversary and rediscover some romance in their long-lived marriage. The film follows the couple as long-established tensions in their marriage break out in humorous and often painful ways. Starring Jeff Goldblum, Jim Broadbent and Lindsay Duncan.

You Are Here [Matthew Weiner], USA World Premiere
When Steve Dallas (Owen Wilson), a womanizing local weatherman, hears that his off-the-grid best friend Ben Baker (Zach Galifianakis) has lost his estranged father, the two return to Ben’s childhood home. Once there, they discover Ben has inherited the family fortune, and the ill-equipped duo must battle Ben’s formidable sister (Amy Poehler) and deal with his father’s gorgeous 25-year old widow (Laura Ramsey). You Are Here is a contemporary adult comedy about family, friendship, money, and the people who keep it all afloat.

Young and Beautiful (Jeune & jolie) [François Ozon], France/Belgium North American Premiere
A coming-of-age portrait of a 17-year-old French girl over four seasons and four songs — from her sexual awakening to her first time; from her exploration of love to her search for her identity.

Hot off the heels of its huge Palme d’Or win at this year’s Cannes Film Festival, two clips from Blue Is The Warmest Color have emerged. This three-hour lesbian romance story is an adaptation of a graphic novel by Julie Maroh generated a lot of buzz before winning Cannes’ top prize, as the film features about a twenty minute graphic sex scene. Blue Is The Warmest Color is a timely film, at least for the French audience, considering France just recently allowed gay marriage to be legal.

Blue Is The Warmest Color Clip #1

Blue Is The Warmest Color Clip #2

Being that Steven Spielberg was the president of the Jury for the 66th Cannes Film Festival everyone who I talked to seemed to think that the Palme d’Or would be given to an American film, with Inside Llewyn Davis having the best chances to win. There was certainly a solid American presence at this year’s festival, but I anticipated Spielberg to pick elsewhere (at the very least to prove he is not biased just towards American films). The Palme d’Or ended up going to a French film called Blue is the Warmest Color, which earned fantastic marks from most critics. Sadly, it was a film that I missed while I was there but obviously plan to watch at my earliest opportunity.

See the full list of nominations.

The entire list of 2013 Cannes Film Festival Award Winners:

Blue Is the Warmest Color, (director Abdellatif Kechiche)

Inside Llewyn Davis, (directors Ethan Coen & Joel Coen)

Amat Escalante, Heli

Jia Zhangke, A Touch Of Sin

Ilo Ilo, (director Anthony Chen)

Like Father, Like Son, (director Hirokazu Koreeda)

Berenice Bejo, The Past

Bruce Dern, Nebraska

The Missing Picture, (director Rithy Panh)

Omar, (director Hany Abu-Assad)

Alain Guiraudie, Stranger By The Lake

The Ensemble cast of La Jaula De Oro

Fruitvale Station, (director Ryan Coogler)

Blue Is The Warmest Color, (director Abdellatif Kechiche)

Manuscripts Don’t Burn, (director Mohammad Rasoulof)

Blue Ruin, (director Hirokazu Koreeda)

The Past, (director Asghar Farhadi)

Like Father, Like Son, (director Mohammad Rasoulof)
Miele, (director Valeria Golino)