Well that was fast. Seems like just yesterday we were recalling our favorite movie moments from 2014. It’s hard to believe but we’re already halfway into 2015! So it’s time for us to reflect back on all the releases since January. Sure, the year has given us a fair amount of flops, like Tomorrowland, Paul Blart: Mall Cop 2, Hot Pursuit, The Cobbler, Aloha, and Entourage to name a few, but luckily in the deluge of releases we’ve come to expect these days, 2015 has delivered a few films worth flocking to theaters for.

There’s something for everyone on our list of the Best Films of 2015 So Far. Eclectic even for us, our diverse inventory includes some of last year’s Cannes Film Festival standouts, a must-see horror film, a Wes Anderson-esque western, several low-budget indies, and to round things out, a big studio action film who’s inclusion among our favorites is one of the more intriguing and pleasant surprises 2015 has thrown at us.

There’s plenty to look forward to later on in the year—we’re looking at you Knight of Cups—but in the meantime rest assured you already have some watching to keep you busy as Summer begins.

Way Too Indie’s Best Films of 2015 So Far

#20. Clouds of Sils Maria

There are few better words than “layered” to describe the labyrinth that is Oliver Assayas’ Clouds of Sils Maria, which made Kristen Stewart the first ever American to win Best Supporting Actress at France’s prestigious César awards. Normally this external detail might prove irrelevant to the work itself, but for a film that focuses so strongly on the generation gap and the notion of aging in the entertainment industry, the fact that Stewart’s subtle performance has overshadowed Juliette Binoche’s more sensational lead performance on the awards circuit is interesting in a self-referential sort of way. Indeed, the concept of parallels seems to go hand in hand with the predicament that Binoche’s character, Maria, finds herself in when she agrees to take part in a revival of the play that once upon a time sparked her career. However, issues of identity and the psychology of the performer are explored when Maria’s original role of Sigrid is given up to a young Hollywood celebrity, and she is forced to play the girl’s opposite as the older and more fragile Helena. Clouds will likely be remembered for its terrific performances, but Assayas’ writing and direction are what allow it to take some strangely enigmatic turns, especially in the second and third acts. It’s these puzzling moments that raise thought-provoking but potentially unanswerable questions in the mind of the viewer, and transform the experience, as a whole, into a difficult one to shake. [Eli]

#19. Faults

This feature debut from Riley Stearns contains just the right combination of absurdity and hilarity to make it one of the most entertaining movies of the year. Much of the success of Faults comes from the brilliant lead performance of Leland Orser, who plays an eccentric cult deprogrammer on the decline of his career. In order to pay back his agent from his recent book tour failure, he takes on a job to deprogram a woman (Mary Elizabeth Winstead) currently under a cult spell. From there, the film evolves into a thrilling chamber piece with unpredictable outcomes. Stearns crafts a wildly hypnotic film from a bare bones setup, establishing himself as an upcoming director worth keeping an eye on. With Orser and Winstead at the top of their game, Faults stands out as one of the best indie debuts of the year. [Dustin]

#18. Seymour: An Introduction

The old saying “those who can’t do teach” doesn’t apply to Seymour Bernstien, a legendary concert pianist who, at the peak of his career, gave it all up to become a music instructor and composer. Ethan Hawke, one of Seymour’s most famous pupils, made Seymour: An Introduction as both a documentary tribute to his mentor and a megaphone through which the 85-year-old’s wisdom and philosophies can touch those around the world, beyond his cozy NYC apartment. It’s a strikingly cinematic documentary about a man who’s developed an ultimate understanding of the link between music and life itself. A sampling: “You can establish so deep an accord between your musical self and your personal self that eventually music and life will interact in a never-ending cycle of fulfillment,” Seymour says on-camera. The man’s a master on the keys, but has a way of making words sing, too. [Bernard]

#17. Me and Earl and the Dying Girl

Me & Earl & the Dying Girl, the arthouse response to The Fault in Our Stars, isn’t quite the genre-redefining coming-of-age film some made it out to be when it premiered and won at Sundance last January. But it’s still a charming and likable enough film that supplies a nice alternative to the constant assault of summer blockbusters like Jurassic World and Terminator Genisys. Thomas Mann, in the lead role of Greg (the ‘Me’ of the film’s title), turns in a good performance that shows some promise for a career that initially started with duds like Project X, but it’s Olivia Cooke who really shines as his classmate who has recently been diagnosed with cancer. And Jon Bernthal continues his streak of great supporting turns; someone give this guy a much deserved leading role already! [Ryan]

#16. Jauja

Transfixing. That’s the first word that comes to my mind when I think about Lisandro Alonso’s fiercely strange Jauja. Filmed in a vintage 1.33:1 Aspect Ratio, the film boxes in its characters in a squircle with seemingly magical capabilities and, by way of a cinematography that’s got a wondrous use for depth-of-field and a mise-en-scene that engages empty spaces like no other film this decade, it creates a magnetic bridge between audience and screen. To put it another way, watching Jauja is to cinephiles what going to church on Sundays is to devout theists; an altogether spiritual experience. It’s set during the time of conquistadors, and first half is easy enough to follow; Danish Captain Gunnar Dinesen (Viggo Mortensen) brings along his daughter Ingeborg (Viilbjørk Malling Agger) on a joint expedition with an allied Spanish infantry. There’s tell of a mysterious army general who has vanished into the desert, never to be seen again, and when Inge disappears one night, Dinesen must gaze into the abyss of this desert in order to find her. That’s when the second half of the film takes over; surreal, compelling, and intimate, the film takes on transportational qualities as we follow the more and more perplexed Denisen. The allure of Jauja is almost as hard to explain as Dinesen’s conversation with the woman in the cave, and it’s got “acquired taste” written all over it, but for fans of meticulous shot composition, and a vibe that’s neither wholly David Lynch or wholly Andrei Tarkovsky, but some transmutated hybrid of the two, it’s a film that dives into the beyond and comes up for air with a plethora of treasures. Alonso is an arthouse storyteller known for stretching out thin plots and narratives in lieu of a viscerally visual journey, and Jauja is his most unforgettable one yet. [Nik]

#15. Heaven Knows What

Based on lead actress Arielle Holmes’ unpublished autobiographical novel, “Mad Love in New York City,” the Safdie Brothers’ newest output reaches uniquely authentic heights, primarily through Holmes’ distinct performance as Harley: a fictionalized depiction of her homeless and heroin-addicted former self. This imitation of life may be the closest to pure documentary that the world of fiction filmmaking has been in some time. To see Holmes maneuver her way through a simulated version of her troubled past is already haunting, but juxtaposed with Sean Price Williams’ floating camera and Isao Tomita’s heavy electronic synthesizer score, the film’s hyper-realism frequently borders on dreamlike surrealism and hits some unforgettable notes. Much of the film consists of Harley’s endless attempts to satisfy her insatiable appetite for a fix, as well as her interactions with other drug addicted and alcoholic members of the New York City homeless population. The repetitive and consistently uncomfortable nature of the film may repel some viewers, but for those fascinated by cinema that replicates reality on a deeper level than the norm, Heaven Knows What may end up being one of the year’s biggest surprises. [Eli]

#14. Appropriate Behavior

I find it quite fitting that Desiree Akhavan’s film début (writing, directing and starring) was the first that I watched and reviewed in 2015, and here it now finds its place among the best we’ve seen so far. Not a bad way to start the year, I’d say. This hipster Iranian-American bisexual rom-com feels as fresh as HBO’s Girls did back in 2012, but with an added diversity that show has always been sorely lacking in. Her jokes have the audacity of Broad City but with the wit of Woody Allen. As the film’s star, Akhavan portrays Shirin, a woman dealing with a break-up from the woman she sincerely loved while hashing through her naïve cultural confusion and general millennial narcissism. The film is at its most hilarious when exposing the ridiculousness of the young urban elite and their kombucha drinking, co-op volunteering, entirely self-conscious faux heroism. But while poking fun at her own generation, Akhavan adds a sense of romanticism even while being a woman behaving badly. On a list sorely lacking in comedy, you can be sure Appropriate Behavior has earned its spot here by being tear-inducingly funny and unapologetically sincere. [Ananda]

#13. Li’l Quinquin

Bruno Dumont’s Li’l Quinquin is, by a wide margin, the funniest film of 2015 so far, and that’s saying something considering how downright grisly it can be. Starting off as a sort of French rural riff on the recent surge of murder mystery miniseries, Quinquin follows the residents of a small countryside village when someone starts chopping up townspeople and stuffing their body parts into cows. As the 200 minute film—originally a 4-part miniseries in France—gets closer to finding a possible suspect, it becomes apparent that Dumont has little interest in solving the case. What begins as a quirky whodunit gradually transforms itself into an exploration of humanity, mainly our capacity to do good and/or evil. But even that reading is a bit of a reductive take on Dumont’s complex, philosophical and frequently uproarious work. People unaware of Dumont’s films will find Li’l Quinquin to be a great starting point, and those already familiar with his output should be shocked to find that he’s been hiding such an incredible sense of humor for this long. [C.J.]

#12. Girlhood

Every 16-year-old girl ought to have the world at her feet. Not all do. Marieme (Karidja Touré), the central character in Girlhood (Bande de Filles), does not. When she realizes she must do something to untether herself from a dead-end home life that includes a disinterested mother and an abusive older brother, her hopes of a higher education as a means of escape are dashed. It’s the film’s most devastating scene. When she says to her offscreen guidance counselor, “I want to be like others. Normal,” she is met with, “It’s a bit too late for that.” At 16 years old, she’s told it’s too late to make a positive change in her life. She remains undaunted, and instead looks for something else. This sets in motion a series of decisions and events that, in the hands of writer/director Céline Sciamma, resonate like those in other great coming-of-age films, yet remain completely devoid of the melodrama so prevalent in those films. It’s a remarkably genuine approach that not only grounds the film in terrific realism, it keeps the viewer highly engaged because all expectations of cliché are shattered. This refreshing take on the struggles of a lower-class teen is enhanced greatly by the talent and beauty of first-timer Touré. She is undaunted by the hopelessness of her situation, yet she never comes across as the type who dots her eyes with hearts, instead conveying sweet innocence in a hardscrabble shell that is simultaneously sympathetic and inspirational. It’s a performance worthy of praise in a film worthy of this list. [Michael]

#11. Gett: The Trial of Viviane Amsalem

In Gett: The Trial of Viviane Amsalem, Ronit Elkabetz stars as Viviane Amsalem, a woman seeking a divorce from her husband, Elisha (Simon Abkarian). This is the basic concept, but nothing else about the film is basic. It’s set in Israel, where there is no such thing as a civil marriage; each marriage is performed as part of a religious ceremony, and must be dissolved that way, too. Based on religious tenets, a husband must give his full consent for a marriage to be dissolved, and if he doesn’t want the divorce, the divorce doesn’t happen. Suddenly, this woman who has been trapped in an unhappy marriage finds herself trapped again—a prisoner of a system that stacks the deck against the same women it all but ignores in the first place. This makes the rules as much the antagonist of the film as the husband, if not more so, and it’s the film’s stroke of genius. Co-written/co-directed by star Elkabetz and her brother Shlomi, the film is a courtroom drama like I’ve never seen before, morphing from a tale of a wife trapped in a bad marriage to a commentary on a culture that treats women as afterthoughts. Not only is Elkabetz’s co-direction sensational, her performance is unforgettable as well. As the woman who will not be denied no matter how many men get in her way (husband, judges, witnesses), Elkabetz shows the weariness and frustration borne of years of roadblocks (the film spans five years!), with a steely layer of resolve beneath. With terrific storytelling fundamentals, compelling emotional depth, and crackling dialogue, the Elkabetz siblings could be Israeli filmmaking’s answer to the Coen Brothers. [Michael]

#10. White God

White God, which premiered and emerged victorious in the Un Certain Regard section of last year’s Cannes Film Festival, is a harrowing, brutal melodrama about animal cruelty that equally serves as a metaphorical story of class/race issues that have always troubled society. While the film sometimes falls short of fully realizing its potential due to shifting tones and a couple other missteps, it’s original and far too interesting to pass over. The film also features some of the most wonderfully cinematic images and some of the best editing of any film to be released so far this year. So if you missed White God during its limited theatrical run in the U.S. this past March then keep your eye out for it when it’s released on blu-ray and DVD July 28th. [Ryan]

#9. Hard to Be a God

Conceived in the 1960s, shot in the 2000s, and finally finished in 2013, Aleksei German’s magnum opus Hard to Be a God could easily claim the title of filthiest movie ever made without anyone batting an eye. German’s sci-fi adaptation takes place in the future, but the setting is like entering a time machine into the past; a recently discovered planet that’s just like Earth, except the planet’s civilization is currently living out its pre-Renaissance phase. The camera, always moving and in deep focus, captures it all with a realism and sense of immersion that few films have achieved before, making Hard to Be a God a simultaneously grueling and exhilarating experience. Not many people will be up for German’s challenge here, but those willing to roll around in the mud will find themselves awestruck at the staggering, groundbreaking vision on display. Some films are hard to shake off, but Hard to Be a God is in a class of its own; this is a movie you have to scrub off. [C.J.]

#8. Slow West

Before a frame was even shot, Slow West was flooded with promise. The feature-length directorial debut of John Maclean (DJ of the disbanded The Beta Band) stars Michael Fassbender and Ben Mendelsohn in two of the central roles. Surely the film would be interesting, but what resulted was something more. Following Jay (Kodi Smit-McPhee) across the American West as he searches for the love of his young life, Slow West could have simply been a solid western. Instead, Maclean and company aimed higher: an absurdist send up of the genre, a coming of age cautionary tale, and a moralist adventure all in a simmering 83 minutes. Slow West is a rollickingly fun western, in equal measures tense and hilarious, absurd and painful. But what’s more is the astounding promise it shows of first-timer Maclean. Whatever he’s got cooking up next (hopefully another vehicle for his buddy Fassy) we’ll be there. [Gary]

#7. The Duke of Burgundy

Peter Strickland’s sumptuous tale of a rocky lesbian relationship inside a surreal BDSM bubble came out at the very beginning of the year, and still beats the competition in terms of pure cinematic sensuality. The narrative follows butterfly expert Cynthia (Danish vet Sidse Babett Knudsen) and her younger lover, Evelyn (Italian debutante Chiara D’Anna), as they cope with ebbs and flows of a deep relationship that’s starting to lose steam, noticed mostly through the oft-hilarious cracks in their masochistic role-playing scenarios. The Duke of Burgundy has a perfect balance of fearless indulgence, and is incredible on multiple levels thanks to Strickland’s methods of cinematic persuasion; his use of a hauntingly romantic score by Cat’s Eye, visually stunning montages that are edited in staccato-like fashion and pledge allegiance to Stan Brakhage’s chaos of celluloid, and setting his story in what looks like an enchanted château from Renaissance Era folklore. The Duke of Burgundy is above all else a tight embrace of everything that sets cinema apart from all other arts. Add to that the re-definition of “toilet humor,” the evocative lead performances that beautifully compliment each other in the way they contrast, and the unadulterated imagination at work—from the costumes to the butterflies, and the all-female world with no sense of time or place,—and you have a film that breaks conventional cinematic barriers in order to express something infinitely universal; love. In all its kinky, silky, paranoid, powerful, glory. [Nik]

#6. Buzzard

Buzzard isn’t a complicated film, but I find it difficult to describe in any intelligent way. But that doesn’t mean I can’t be completely confounded and charmed by its off-kilter sensibilities. As you are more than likely to not have seen Buzzard, here’s a little on the plot: Marty is a temp office worker, video game and horror film aficionado, overall slacker in the suburbs of Detroit. As he makes increasingly outrageously dumb decisions, he becomes more and more paranoid that the authorities (or something even more sinister) are out to get him. The film is a punk splashed throwback with its roots calling back to Alex Cox. Buzzard recent ties are to the comedy of Quentin Dupieux and Tim & Eric, and it more than holds its own against these more established and polished figures. There really isn’t much more I can say about the film than it is delightfully weird, awkward, and very, very cool. Joel Potrykus’s sophomore feature will hopefully be his indie breakout, though I surely hope he never loses his edge. [Aaron]

#5. It Follows

It Follows carves fresh terrain for horror movies, turning the sound of approaching footsteps into a signal of terror. David Robert Mitchell’s stylistic second feature film is a creepy, fun experience wholly unique in its approach. When a new boyfriend passes a sexually transmitted demon onto Jay (Maika Monroe), she and her friends work together to dispose of the monster and rid Jay of her curse. With striking cinematography and nods to John Carpenter classics (notably its ominous, synth-heavy score), the unsettlingly tense terror created in this film is surely among the greatest scary movies in recent memory.

Rather than make the true source of his scares the It Follows monster itself, the director Mitchell utilizes long takes that often place the demon off in the background slowly encroaching on Jay and her friends. The longer that a shot lingers, the more your dread will build. It Follows is a masterwork in the manipulation of anxieties. Its terrifying encounters with an unforgettable villain and the haunting imagery in It Follows leaves a chilling impact that will make you wonder what’s behind you. [Zachary]

#4. Wild Tales

With Wild Tales, Damian Szifron reminds us that, deep down, we’re all a bunch of filthy animals. The characters in this blissfully chaotic anthology movie do things we wish we had the balls to do, breaking free of their societal restraints to indulge in the sweet nectar of violence, revenge, greed and infidelity. Each of the film’s six short stories are insanely entertaining in their own way, and though terrible, terrible things happen across the board, the biggest surprise is how much fun it is to watch these people’s lives fall apart. Maybe it’s cathartic, maybe there’s a bit of wish-fulfillment going on, or maybe it’s just good, old-fashioned, pulpy entertainment. Wherever the film’s true appeal lies, what’s abundantly clear is that Szifron is a badass storyteller with a unique vision. In the film’s final story, a man stands over his lover. He hurt her badly, and she’s hurt him right back. They’ve raged and cried and thrashed at each other, and now they’re drained, stripped of everything. He opens his arms and doesn’t say a word, but she hears him loud and clear. “This is us, baby. We’re filthy animals, but at least we’ve got each other.” We’ve all got a wild side, and Wild Tales reminds us to embrace it because it’s what makes us human. [Bernard]

#3. Mommy

Love as the bond between mother and son is the subject for Xavier Dolan’s latest and perhaps best release so far Mommy. Following a widowed single mother struggling to make ends meet, Diane (Anne Dorval) raises her violent, ADHD son Steve (Antoine-Olivier Pilon), with the help of Kyla (Suzanne Clement), a mysterious neighbor who has a curious verbal tick. Together, the three lost souls function as a patchwork family unit, accomplishing more together than they would be capable of apart. Although the movie concerns itself with characters managing in difficult circumstances, the energy with which Dolan allows the story to unfold gives the film surges of stylistic adrenaline.

Shot in a 1:1 frame with warm, yellow hues that somewhat resemble an Instagram video, Dolan’s camera moves frenetically, whipping from one side of a conversation to the other in order to accommodate Mommy’s tight aspect ratio. The square frame helps draw the viewer’s eye inward toward the middle of the picture, providing an intimate view of these characters as they have deeply personal experiences. Through adversity Mommy remains an exuberant celebration of minor daily achievements, emphasizing that attitude often dictates outcomes. This is a deeply empathetic movie with several heart-wrenching sequences. All of this comes accompanied by an assortment of iconic late ’90s needle drops (“Colorblind” by Counting Crows, “Blue (Da Ba Dee)” by Eiffel 65, “Wonderwall” by Oasis) and the best use of a Lana Del Ray song in cinema yet. [Zachary]

#2. Ex Machina

It’s no surprise that début film director Alex Garland made his chops for years as a screenwriter—his script for Ex Machina is one of the best sci-fi scripts in years. There is always a particular balance that has to be struck with good, smart science fiction, wherein the intellectual scientific and philosophical concepts need to be accessible while not watered down for mass consumption. The film is primarily a film made up of conversations between two people at a time (either programmer whiz Caleb and towering genius Nathan, or Caleb and femmebot Ava), and the dialogue is sparkling, full of lofty ideas and technical jargon without much of a reference key. I’ll admit there were times that I felt a little left behind in the conversation, and I frankly should be when two very smart people are talking about very smart ideas. That doesn’t mean that I couldn’t follow what was going on or felt the film was intellectually impenetrable, because its simplified location and high-concept premise, along with its eventual genre trappings, kept it all accessible. This all helps Ex Machina to be a unique science fiction film while tackling familiar science fiction themes. The three primary leads all give very different but equally brilliant performances, but Alicia Vikander rightly has gotten the most attention for her breakout role as A.I. seductress Ava. Simply put, if the actress in the Ava role doesn’t deliver, the film doesn’t work. Because a majority of the film’s premise has Caleb literally testing Ava to see if she has the capacity to be human, the audience is focused in on every word she says and motion she makes. It’s not really a spoiler to say that Caleb is fooled in ways, and so was I. [Aaron]

#1. Mad Max: Fury Road

His name is Max. His world is fire and blood. And this movie is barely even about him. How did a not-so-indie summer blockbuster action flick make it to the coveted #1 spot on this list? By doing what indie films do best—bring innovation to the big screen. In this way Mad Max: Fury Road is the most indie-spirited film out this year. Director George Miller, who made the original Mad Max for less than half a million dollars, and who has maintained that indie spark, is a patient man, who waited until the time was ripe and technology could accommodate his vision. Never has such patience paid off quite so well. Literally—as this film is doing nicely at the box office—but also in providing one of the most provocative action films to come out of the genre. Forget that its visuals are beyond stunning and its pace remains breakneck with hardly a second to catch one’s breath, it has sparked some of the most lively conversation of the year around feminism, female film leads (like I said, this film isn’t really all that focused on Max, it’s Charlize Theron’s Furiosa who should have top billing), and the surprising social commentary a post-apocalyptic action film can stir up on such lofty subjects as injustice, slavery, objectification, and male-dominance. Those who don’t want to think can enjoy the visuals, fast cars, and flame-throwing, but those who find an added pensiveness to their action film to be an invigorating bonus, will find Fury Road to be a whole new kind of avant-garde. [Ananda]

On this week’s show Bernard is joined by CJ, a.k.a. “The Dastardly Dissenter,” who lives up to his alliterative moniker by going head-to-head with Bernard as they review Sundance darling Me and Earl and the Dying Girl, which nearly moved Bernard to tears and moved CJ closer to the theater exit. The boys also share their favorite movies about making movies and take a look back at the year in movies that was 2015. All that, plus some ripe Indie Picks on this very contentious episode of the Way Too Indiecast.

Topics

• Indie Picks of the Week (2:05)
• Thoughts on 2015 Films (8:20)
• Favorite Movies About Making Movies (27:48)
• Me & Earl & the Dying Girl Review (41:53)

WTI Articles Referenced in the Podcast

Me and Earl and the Dying Girl interview
Hard to Be a God review
Wild Tales festival review
Tu Dors Nicole review
Jauja review
The Duke of Burgundy review
Gett: The Trial of Viviane Amsalem review
Ex Machina review

Subscribe to the Way Too Indiecast

• Subscribe to our podcast on iTunes
• Subscribe on Stitcher
• and please leave us a rating and quick review!

The Indiecast is back, and this time Bernard, CJ, and newcomer Susan (we’ve got a squeaker!) are talking what they’ve been watching on TV, the new, spine-chilling indie horror release It Follows, and the state of VOD. Plus, we’re kicking off a new weekly segment in which we recommend some tasty new indies for you hungry film geeks to chomp on, and we choose CJ’s new nickname. All this and more on the Way Too Indiecast!

Topics

• Indie Picks of the Week (4:07)
• Television We’re Watching (9:32)
• Black Mirror (25:15)
• Unbreakable Kimmy Schmidt (30:00)
• It Follows (37:42)

WTI Articles Referenced in the Podcast

The Wrecking Crew review

Jauja review

Seymour: An Introduction review

Best 50 TV Shows of the Decade feature

It Follows review

Subscribe to the Way Too Indiecast

• Subscribe to the podcast on iTunes
• Subscribe to the podcast on Stitcher
• and don’t forget to leave us a rating and quick review!

Lisandro Alonso’s Jauja, world premiering in Un Certain Regarde, is from another planet. Much like Ceylan’s Winter Sleep this is what a real experience feels like in the movie theater. Unfortunately, I was unable to get too acquainted with Lisandor’s previous films before the festival began and only managed to catch his 2004 film Los Muertos, about a man released from prison and his journey back home to his daughter. It’s a captivating, at times tedious, affair. Man’s displacement in nature and within family feels like one of Alonso’s major themes. Snail-like camera movement, lengthy takes, and no musical accompaniment, his preferred tools. 10 years later, and after a couple of more films I will most definitely be seeing soon, he has a made a film that is in a different league, using everything seen in Los Muertos (right down to the subject of a father searching for his daughter) to infinitely higher degrees. It’s unbelievably not competing for the Palme D’Or and I’m not sure how that happened, but I’ve got an inkling that it will wind up as the granddaddy of the UCR; with more experience and wisdom captured in a few frames than entire films in the section.

The film opens with a caption about what ‘Jauja’ is exactly; a mythical, earthly paradise, which man has sought for centuries and never found. The time and setting of the desolation that surrounds the 4:3 frame is never revealed, though it looks to be the period of the conquistadors when European forces were conquering aboriginal peoples. Danish Captain Dinesen (Viggo Mortensen) has joined camps with a Spanish infantry and brought his daughter Inga (Ghita Norby) along. The first section of the film establishes the relationships between Dinesen, the Spanish lieutenant Pittaluga, Inga, and Inga’s Spanish soldier-lover Corto. Word has reached their camp that captain Zuluaga, renowned for his bravery and experience in the desert, has disappeared under mysterious circumstances. When Inga steals off one night with Corto, Dinesen wakes up in a panic and – not heeding the advice of the seedy Pittaluga – rides off into the desert to search for his daughter.

The film truly takes off once Mortensen’s captain begins his search. The establishing scenes contain more dialogue than the entire length of Los Muertos and while the words spoken lay the foundations of the themes (mysticism, perversion, loss of self) it is the framing and depth of field in this beginning sequence that is instantly captivating. Characters on the left side of the screen in the forefront are contrasted with an action occurring in the distant background on the right, with the vacuum in the middle providing the groundwork for the thematic use of space in the mid-section. Once Dinesen begins his search, the desert that ‘devours everything’ becomes the film’s antagonist as it eats up time itself. Detailing how it does this would classify as a spoiler, but suffice it to say that Dinesen’s search for his daughter and the desire to go back home, as he feels more and more alienated in the foreignness that surrounds him, transcends expectations and delves into a philosophical discourse devotees of existentialism will adore.

It’s quite difficult to find the right words to describe the sensations and deep impact Jauja leaves you with. Directors that immediately come to mind in terms of aesthetic and thematic influence are Andrei Tarkovsky, David Lynch, and Carlos Reygadas though my unfamiliarity with such directors as Alejandro Jodoworski and Manoel de Oliveira feels like a deficiency here. This is the kind of philosophical, deeply visual filmmaking which many will be able to appreciate, and my respect for Viggo Mortensen (who is a magnanimous minimalist here) has sky rocketed. He is the biggest star Alonso has worked with, and if nothing else, his name alone should guarantee a lot of buzz. Of course, Alonso’s mastery alone should be enough because he has created something spectacular here. As I conclude these thoughts, my mind is flipping through the poetic excursion it just had the privilege of experiencing; scenes allowed to sink in so that the vastness of the volcanic nature swallows all attention, or the peculiarity of the aspect ratio which brings to mind Cormac McCarthy’s lack of quotations; an artistic expression which empowers the themes and mysticism of the film. Rating this film feels almost ridiculous as it’s one of those picture that transcends all kind of formality. Is there an infinite out of 10? Like Winter Sleep, principle prevents me from giving it a perfect 10, and besides, more viewings feel essential to get a full grasp. Can’t wait to go back to Jauja.

This review was originally published as part of our Cannes 2014 coverage. Jauja is out in limited theatrical release today, March 20.

Waiting is the hardest part, and if you follow major film festivals like Cannes or TIFF that saying might be all too familiar. Plenty of new films premiere at these festivals, earn raves across the board and get picked up by a distributor, only to take what can feel like an eternity before finally getting a public release. Last year, Foxcatcher premiered in May at Cannes before finally coming out in November, but that’s not as long as the nearly 8 month wait Under the Skin endured before it finally hit theaters—it premiered at Venice in August 2013.

With many of our writers covering a variety of major film festivals across the world at Way Too Indie, we’ve seen our fair share of great films in 2014 that haven’t come out yet. So we put together this list of movies we’ve already seen and loved. No guarantees that any of these films will wind up making our top ten lists come December, but at least you’ve got a few movie recommendations to go off as you start a new year of new films. Read on to see our picks, as well as information on how and when to see them. Some of these films are actually available to watch right now, so if you see them (and we’re telling you to), be sure to let us know what you think. And as for the ones still unavailable, well, just know that they’re all well worth the wait.

10 Great 2015 Films We’ve Already Seen

Backcountry

Interview with director Adam MacDonald

Trailer

As a genre fan, I simply couldn’t leave Adam MacDonald’s Backcountry off this list. Directorial debuts, especially ones covering familiar ground like this, rarely come out as assured and all-around good as this film. A couple from the city (Jeff Roop & Missy Peregrym) spend a weekend camping in the woods, only for things to start going south. MacDonald lays the dread on thick from the start, introducing one possible tragic outcome after another for the (un)happy couple before settling on one. Roop and Peregym also do a great job together, but it’s Peregrym who gives it her all as she goes through hell to try and escape the woods. Backcountry is a solid film through-and-through, one that starts out with a general feeling of unease before ratcheting up the tension considerably. No one will blame you if watching this film ends up killing your interest in camping for a while. [C.J.]

When does it come out? IFC Midnight is handling US distribution, so expect a VOD and/or theatrical release some time this year.

Buzzard

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Imagine the most despicable and remorseless character you know, one with no regard for social standards or the consequences of their actions, now multiply them by two and you’ll have a character close to Marty Jackitansky. Working as an office temp at a bank, Marty spends his days conjuring up scams for pure entertainment. His schemes range from returning his office’s supplies for cash to forging endorsements on checks. Indie director Joel Potrykus conceives a brutally offensive protagonist without being remotely apologetic, and yet it’s somehow impossible to condemn him. Buzzard is a remarkably compelling and wildly entertaining character study that goes places most films wouldn’t dare. It’ll be a surprise if anything else in 2015 ends up as uncomfortable and unforgettable as Buzzard. [Dustin]

When does it come out? Oscilloscope Films will release Buzzard in theatres and VOD on March 6th.

The Duke of Burgundy

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A runaway hit with critics at the 2014 Toronto International Film Festival, The Duke of Burgundy had some of us swooning when we caught it back in the fall. Peter Strickland’s follow-up to Berberian Sound Studio takes place in a timeless, fairy tale world where men don’t seem to exist. Two women engage in an erotic ritual with each other—one where dominant and submissive roles are redefined several times over. But take away the fantasy qualities, the gorgeous aesthetics, the sublime asides into the abstract, or the BDSM elements, and The Duke of Burgundy is a simple, beautiful love story about the compromises that come with any relationship. It’s the strength of the film’s core ideas, combined with how beautifully they tie into form, that make The Duke of Burgundy a near-masterpiece. Expect this film’s bewitching power to maintain a strong hold on critics and audiences throughout the rest of the year. [C.J.]

When does it come out? Very soon! IFC Films will release the film in theatres and VOD on January 23rd. If you’re able to see this one in theatres, do it.

It Follows

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This film has been a hype machine ever since it wowed critics last year at Cannes, and now it’s finally (finally!) coming out. It Follows plays out like a more adult version of an Are You Afraid of the Dark? episode. A young woman (Maika Monroe) gets a sort of curse put on her. One that’s only contracted through sex. Once a person has it, a figure emerges, walking towards that person at a slow, steady pace. Only they can see it, and it can take the form of any human being. Once it eventually catches up with its prey, it kills them. Its slow movement means outrunning it is possible, but the only way to stop it is to pass the curse on to someone else (and even that doesn’t guarantee they’re in the clear). Writer/director David Robert Mitchell takes this concept and runs with it, providing one unnerving moment after another as Monroe’s character continually tries to escape this malevolent being while it slowly comes for her. Don’t be surprised if this little film spawns a new franchise. [C.J.]

When does it come out? March 27th in theaters and on VOD. See this one with as many people as you can. It’ll be a lot more fun that way.

Jauja

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There are films that play within the boundaries set up by cinema over the last century, and then there are some that dare to step outside the box. Jauja, Lisandro Alonso’s fifth film, goes to places that even the director admits he’s unsure of. The film starts off with an accessible set-up: a Danish captain (Viggo Mortensen) exploring a South American desert sets off to look for his teenage daughter after she runs off with a young soldier. The film’s first act certainly feels a lot different than Alonso’s earlier films, containing more plot and dialogue than most of his other works combined. But once Mortensen’s character ventures into the desert alone (the middle section feels more like Alonso operating within his comfort zone), well…some people have happily revealed what happens in Jauja’s last half hour, but it’s better to find out for yourself. Whether or not Alonso’s bold moves succeed is a matter of opinion, but it’s exciting as hell to watch someone brave enough to go places others wouldn’t dream of. Jauja is strange, unique, beautiful, frustrating and even maddening at times, but it’s also a reminder that we still haven’t scratched the surface of what cinema can do. [C.J.]

When does it come out? Cinema Guild will release Jauja in theaters on March 20th.

La Sapienza

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A famous architect undergoes a crisis when he suddenly loses interest in his work and marriage. He takes his wife to visit the works of his favourite architect and, during their trip, befriends two young siblings. The brother, an aspiring architect himself, winds up tagging along with the husband for the rest of the trip, while the wife stays in Switzerland and bonds with the younger sister. The set-up for Eugene Green’s La Sapienza sounds a little trite in its tale of an older couple learning to love again through their experiences with younger, more hopeful people, but it’s actually a surprising delight. That’s largely due to Green’s unique and highly formal approach, having characters speak to the camera in a deliberately stilted manner. It sounds pretentious, but it’s quite the opposite, with each conversation cutting directly to the point (it’s also hard not to stay involved when characters stare directly into the camera so often). And Green knows how to shoot buildings, too; he films various pieces of Baroque architecture in ways that make it hard not to admire the astounding work on display. [C.J.]

When does it come out? Kino Lorber haven’t announced a release date yet, but it should come out some time this year.

Li’l Quinquin

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If you told me at the beginning of 2014 that Bruno Dumont would make a critical and mainstream hit TV series, I would try to commit you to the nearest asylum. But then Li’l Quinquin premiered at Cannes to absolute raves, followed by smashed ratings records when it premiered on French television. Now Kino Lorber will screen the series in US theatres this year. Li’l Quinquin starts out as a murder mystery in a small countryside town, only to build into something quite strange, dark and funny. Dumont’s usual traits—non-professional actors, the northern French location, stunning cinematography, philosophical themes, and shocking violence—all remain, but with plenty of flat-out hilarious moments peppered throughout. Dumont’s break into the mainstream turned out to be more of an evolution than a compromise. [C.J.]

When does it come out? It’s out right now! Kino Lorber released Li’l Quinquin in theaters on January 3rd, and it’s currently streaming on Fandor.

Welcome to New York

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Abel Ferrara’s film, inspired by former IMF chief Dominique Strauss-Kahn’s alleged sexual assault of a hotel maid, has already inspired plenty of controversy. DSK’s lawyer promised to sue the filmmakers for slander, and now IFC Films intends to cut the film’s explicit sex scenes down to get an R rating for its US release. Ferrara has been quite vocal about his displeasure with IFC’s decision to cut his film, and hopefully they’ll change their minds. Gerard Depardieu (a genius casting choice) plays Devereaux, the character unabashedly intended to represent DSK. Ferrara uses the film’s opening act to coldly observe Devereaux’s horrifying, grotesque debauchery before turning the film into a procedural covering his arrest. Ferrara layers his film in ways that feel paradoxical and exciting. The recognizable star and excellent cinematography clash with Ferrara’s detached, observant, and docu-like style, to the point where some moments feel incredibly realistic. The results of this clash turn out riveting thanks to the film’s two excellent central performances. Depardieu does his best work in years here, but the real star is Jacqueline Bisset, who outshines her co-star as Devereaux’s wife. [C.J.]

When does it come out? No word from IFC yet on when it’ll come out, but it’s already available on DVD and Blu-Ray in the UK. And for any pirates with a guilty conscience out there: Ferrara encourages stealing the film if it means being able to see it in its proper form.

What We Do in the Shadows

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Just when the vampire movie appeared to be reaching the point of exhaustion, 2014 provided three refreshing, exciting takes on the legendary creature. The first two, Only Lovers Left Alive and A Girl Walks Home Alone at Night, are already out, but the third, What We Do in the Shadows, will finally get a proper release next month. Jemaine Clement (Flight of the Concords) and Taika Waititi (Boy) direct and star in this mockumentary about four vampires living together in New Zealand. The film’s style, obviously inspired by Christopher Guest’s films, helps break down the mystique surrounding vampires, putting them in pretty ordinary and banal situations. It’s a simple, silly joke that’s surprisingly versatile, and the top-notch cast (who improvised almost all their dialogue) make it all look effortless. People sick of vampires, or anyone who just likes really silly humour, should check this one out. [C.J.]

When does it come out? Unison Films will release What We Do in the Shadows in theaters on February 13th.

Wild Tales

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I knew I was in for a treat when I saw Pedro Almodóvar’s name as the producer of Wild Tales, but I didn’t expect this anthology film to completely blow me away. Argentinian writer/director Damian Szifron delivers exactly what the title says: six distinct wild tales, all involving dark humor, plenty of irony, and just the right amount of Almodóvar-esque style. The film opens with the strongest (and shortest) story, as passengers on a plane discover unexpected connections with each other. Szifron’s reveal of a truly ridiculous outcome perfectly lays down the groundwork for the rest of the film. Each set of stories stand on their own yet link together thematically, with everyday situations exploding into absurd revenge tales that end with an epic conclusion. Wild Tales is the most fun I’ve had watching a film in years. [Dustin]

When does it come out? Sony Pictures Classics will give Wild Tales a limited release in theaters on February 20th.

Other notable 2015 Films to Watch For

We couldn’t cover all the good films we saw last year that will head to theaters and/or VOD in 2015, but here are some more that impressed us: Roy Andersson’s A Pigeon Sat on a Branch Reflecting on Existence; Ramin Bahrani’s 99 Homes; Pedro Costa’s Horse Money; Christian Petzold’s Phoenix; and Shlomi & Ronit Elkabetz’s Gett: The Trial of Viviane Amsalem. And since our feature on the best undistributed films of 2014, three titles have been picked up for a 2015 release: Hard to be a God, Wild Canaries and Welcome to Me. Let us know if we’ve missed any other awesome titles from last year’s festival circuit, and tell us what you’re personally looking forward to seeing. We certainly can’t wait to see all these films again.

December hasn’t even started yet, and the lists are already starting to come out. Sight & Sound just put out their list of the year’s best films, and it’s quite the mix between awards fare and more out there material. Now you may be asking yourself, “Why are we talking about this list?” Well it’s because Sight & Sound, run by the BFI, is one of the most respected film publications in the world. They’re also responsible for the survey on the greatest films ever made that gets updated once a decade, the gold standard when it comes to all-time lists.

So what’s on this list? First off, it’s based on UK release, so some films like Wolf of Wall Street and The Wind Rises are on the list despite coming out last year in the US. Putting those aside, the top of the list doesn’t come as a surprise with Richard Linklater’s Boyhood at number one. Seeing the number 1 next to Boyhood is going to be a sight we all have to get used to by the end of the year (not that anyone’s complaining, though). After that it’s a range of titles from the more mainstream (The Grand Budapest Hotel, Ida, Mr. Turner, Birdman) to the extreme arthouse picks (Jauja, Horse Money, Goodbye to Language). In other words, watching these movies will give you a fair share of the accessible and inaccessible in 2014.

Read the list below, check out our reviews for some of the films by clicking on them, and take a peek over at the Sight & Sound website for more information on the list. And be sure to check out all of Way Too Indie’s year-end coverage coming up throughout December, when we reveal our list of the best films of 2014 at a more reasonable date than the end of November.

Sight & Sound’s Best Films of 2014

1. Boyhood
2. Goodbye to Language 3D
3. (tie) Leviathan
3. (tie) Horse Money
5. Under the Skin
6. The Grand Budapest Hotel
7. Winter Sleep
8. (tie) The Tribe
8. (tie) Ida
8. (tie) Jauja
11. (tie) Mr. Turner
11. (tie) National Gallery
11. (tie) The Wolf of Wall Street
11. (tie) Whiplash
15. The Duke of Burgundy
16. (tie) Birdman
16. (tie) Two Days, One Night
18. (tie) Citizenfour
18. (tie) The Look of Silence
18. (tie) The Wind Rises

Cannes is over. Three words that are going to be sinking in for a while, while I try to regroup and accept that yes; the glorious, maddening, disorganized, exhilarating, and one-of-a-kind Cannes film festival is over. The Prozac to my depression is that it was an absolute blast, and an experience I wouldn’t exchange for anything. While I spend the next few days catching up on all my sleep and vitamins, the medley of scenes, moments of cinematic enormity, fits of laughter, and gasps of horror will be scooped up along with the bits and pieces of my blown mind, and shaped into a cherished memory. But in the meantime, therapy is in order and part of the 12-step program of recovery after coming back from a place like Cannes is making a Top 10 List. So here we are.

If you’ve followed my coverage, this list might not be very surprising but it’s still a good way to summarize why this was such a fantastic festival, and include some thoughts on the recently announced winners.

Honorable Mention – Whiplash

One of two Director’s Fortnights I managed to see was this Sundance hit, about a teenager’s unrelenting passion to become one of the world’s greatest drummers. With magnificent turns by Miles Teller and J.K. Simmons (the latter especially, who should be considered for Best Supporting Actor once we fast-forward seven months from now), and a well maintained adrenaline rush by focused directing and excellent editing, the only reason Whiplash isn’t in the Top 10 is because of it’s noticeably poor depiction of women and predictable emotional beats. Read my review.

#10 – Maps To The Stars

Julianne Moore may have stolen the Best Actress award from Marion Cotillard, but it’s wonderfully ironic that she did it with this role. Obviously, she’s fantastic in it and my review gushed over her. She’s a big reason David Cronenberg’s Maps To The Stars makes it on this list. Hollywood gets scrutinized in brutal fashion by the master of the absurd, and it ranks as one of my most entertaining and alive moments in a Cannes screening. Worthy of noting; this is the only screening I was unable to get into initially and had to schedule in for later, so it’s good to see that the popularity paid off.

#9 – Amour Fou

Jessica Hausner was a discovery for me, but thanks to Way Too Indie’s CJ for making sure she gets a place in the anticipation list because it enticed me enough to check out this wonderfully austere 19^th century tragic-comic look at love in all its silly desperation. After her third appearance in the Un Certain Regarde, Amour Fou really showcases Hausner’s talent and is one of those films which felt misplaced in its sidebar, fitting in main competition. A unique approach to love, and perfectly framed, Amour Fou should be getting distribution if it hasn’t already so hopefully people on this side of the pond will get a chance to laugh with and at all its awkwardness. Read my capsule review here.

#8 – The Disappearance of Eleanor Rigby: Them

Even though I was fortunate enough to see the much superior Him and Her versions of this heartrending love-story, Them is more than good enough to deserve a spot on this list. Without doubt the biggest “WTF are they thinking” award decision was giving the Camera D’Or to the directors of Party Girl and not Ned Benson, whose tireless years of work on this project pays off in spades with career-turning performances, assured direction, and a deeply felt story of love and loss. I’d still recommend the richer 3-hour version over this two-hour combined perspective, but if your time is that precious, you won’t go wrong with this version once it gets released. Read my capsule review here.

#7 – Mommy

Trepidation coursed through my veins during the awards ceremony because the buzz was so supportive for Xavier Dolan’s Mommy winning the Palme. Thankfully, and deservedly, Dolan shared the Jury Prize with Jean-Luc Godard and his video essay Goodbye To Language 3D. But it’s important to point out how deserving it is that Dolan walked away with something, because Mommy is a joyous experience full of sorrow, laughs, and vigorous humanity. Even the use of music, or Dolan’s knack to indulge with style, ended up being an asset rather than a flaw here. A truly impressive piece of work by a youngster whose talent is undeniable. Read the review here.

#6 – P’Tit Quinquin

The second Director’s Fortnight film I managed to see and it almost makes it into my Top 5. Bruno Dumont is a master filmmaker, there’s no denying that, and while he is known for putting you down (and kicking you a little while you’re down there) with P’Tit Quinquin he made the funniest film I’ve seen at Cannes. But it’s also one of the smartest, which is the major reason it’s appearing here. Bernard Provost gives an outstanding performance, and helps ease the 3 hour 20 minute running time. Another one CJ needs to be thanked for putting in our anticipation list, even though it’s made-for-TV make sure to seek out P’Tit Quinquin in all its cinemascope glory if you get the chance. Read my capsule review here.

#5 – Two Days, One Night

After the reaction the new Dardennes film got from its first screening, critics were declaring Palme. I wasn’t one of them however, because getting a record third Palme D’Or was always going to be a steep mountain to climb. Regardless, if they had won no one would have bat an eyelash because Two Days, One Night is Dardenne dominance at its most simplistic and vital. It lingers on long after the credits role thanks to the greatest closing lines of any film at the festival, and Marion Cotillard. Will she ever win a Cannes Best Actress? This is the third time her performance is praised to immeasurable heights, and she walks away empty-handed. I don’t like to take anything away from Julianne Moore, whom I adored in Maps, but this really did belong to Cotillard. Perhaps an Oscar will lick her wounds. Read the review here.

#4 – Mr. Turner

Mike Leigh is one of my favorite filmmakers working today. That’s just how it is, and Mr. Turner was one of my must-sees. The second film I saw at the festival and its wondrous cinematography, resonant performances, and an organic direction that plays right into my wheelhouse; Mr. Turner proves that Leigh can tackle the tricky genre of the biopic better than, well, anyone I’ve ever seen. Once you see Timothy Spall (who absolutely must be nominated for an Oscar or it’s all gone to shit) grunt, grumble, growl and gawk his way as J.M.W. Turner you’ll know how deserving that Best Actor win was. An absolute delight this film is, and one I can’t wait to relive again. Here’s my review.

#3 – Winter Sleep

And now we come to the three experiences and near-masterpieces. Winter Sleep is our brilliant, refined, introspective, and much deserved Palme D’Or winner. Nuri Bilge Ceylan is now one of the most celebrated filmmakers at Cannes; with two Grand Prix prizes, one Best Director, and now the Palme to his name. Predicted as possible winner before the festival even started, hated on by a few once it screened (including New York Times’ Manohla Dargis), Winter Sleep still managed to take most critics’ breath away and mine included (it also walked away with the FIPRESCI prize.) Thank God it appears to have done exactly that with Jane Campion, Willem Dafoe, Gael Garcia Bernal and the rest of the jury because Winter Sleep is exemplary cinema at its most dignified and sophisticated. A big hip hip hooray for this win. My review.

#2 – Leviathan

Battling it out with Winter Sleep in an almost tied position of second and third spot is Andrey Zvyagintsev’s artistic magnum opus Leviathan. Religion and politics get a scathing scrutiny in a Man vs. State tale, told through allegorical fashion of the biblical Job story. When it was announced that Leviathan won Best Screenplay, my heart skipped a beat, then slightly sank because I knew it meant chances of a Palme were slim to none. Neverthless, it goes back a winner and it’s been acquired by Sony Pictures Classic so a release date State-side is imminent. Everything just works in this film; from magnanimous Philip Glass, absorbing scenery, ridiculous eye for detail, and balletic camera movement; Leviathan is a work of art with a capital A. My capsule review is here.

#1 – Jauja

What in seven hells is Jauja? Where did it come from? How was it conceived? Where will it end up? These are the kinds of questions still circling in my mind as I try to wrap my self around this transcendental and illuminating experience. Screening in Un Certain Regarde, and playing around with a format that makes you wish you had every shot hanging on your wall, Lisandro Alonso’s Jauja walked away with the FIPRESCI prize so it’s nice to see others critics clicking with it. By far the most challenging film I’ll likely see all year, similar to how mind-boggling Carlos Reygadas’ Post Tenebras Lux must have felt when it screened in competition a few years ago, part of why I have it over giants like Leviathan and Winter Sleep is because its mystical powers fascinate me beyond words. Viggo Mortensen’s screen presence and his guitar-playing skills are in full effect here, but it’s all Alonso with the irreplaceable shot composition and philosophical depths showing why cinema is unlike any other art-form out there. Read my review here.

Closing Thoughts

My biggest regret was missing Jean-Luc Godard’s Jury Prize winning Goodbye To Language, but thanks to its warm reception chances of seeing it released are much bigger than before the festival started. Another big miss was Alice Rorwacher’s The Wonders, which ended up winning the Grand Prix, but from everything I read and heard, it’s not one I’ll be rushing to see. Unlike White God, It Follows, The Tribe, and Turist; all of which received either some kind of award or incredible word of mouth, and all of which I managed to unfortunately miss.

But that’s how the cookie crumbles with festivals; see some, miss some – it’s just impossible to see everything (but there’s a superpower I’d love to have.) The biggest disappointment was probably Assayas’ Clouds Of Sils Maria (review here) and not Ryan Gosling’s dog’s breakfast Lost River (reviewed here) because the former is an accomplished director and the latter is an actor playing the role of a director, poorly. Though if I could, I would replace Party Girl (capsule here) and The Blue Room (capsule here) with one of my regrets.

But even if I had to endure three Lost Rivers, there’d be absolutely nothing to complain about. The people, the films, the place, the atmosphere, and the joy of covering the world’s greatest festival; all combine for one unforgettable ride. I hope this will be the first of many Cannes film festivals for me, because there’s just simply nothing like it. Thanks to the films on this list, in some ways Cannes will never really be over for me. And now, the next step; sleeping for 48 hours straight.