Belgium

A family enjoys an idyllic existence in their isolated, ramshackle home, which edges onto an abandoned highway. Almost entirely cut off from society at large, they forge their own Utopia, but everything changes when city trucks roll in to complete the road’s construction, allowing rush hour traffic to start rumbling by. Stars Isabelle Huppert (The Piano Teacher).

Khleifi skillfully and lovingly crafts a portrait of two Palestinian women whose struggles both define and transcend the politics that have torn apart their homes and their lives. First full-length film shot in The West Bank.

As I Open My Eyes gives us a look at Tunisian youth on the eve of the Jasmine Revolution as they are pulled in all directions by conflicting forces: disenchantment, fear, creativity, rebellion against dictatorship, rejection of conservatism, and the courage to pursue their desires.

The Roman life and the imaginary worlds of Pier Paolo Pasolini intermingle in Abel Ferrara’s retelling of the final days in the life of the fifty-year-old filmmaker and writer (played by Willem Dafoe), in a lovely, haunting film that draws on his last interview and envisages scenes from an unmade final film and his incomplete novel, Petrolio.

Three teenage girlfriends live in an apartment complex near Goulette beach in 1967, and during the summer they make a pact to lose their virginity. "An enchanting, insanely erotic comedy." - Eye Weekly

Johan Grimonprez's ingenious documentary/ fiction hybrid - a meditation on identity, filmmaking, power and paranoia - looks at Alfred Hitchcock's 50s-60s films against the climate of Cold War anxiety. Using a meticulous array of archive footage and a story by novelist Tom McCarthy, Grimonprez traces the global rise of fear as a commodity, examining modern history through the lens of mass media.

Filled with a colorful cast of supporting characters and a number of gracefully executed dance sequences, THE FAIRY is a whimsical tale about the happiness that can be squeezed out of even the most mundane of lives.

Eugène Green drops biblical motifs – Abraham and Isaac, Mary and Joseph – into this genuinely contemporary setting as if it were the most natural thing in the world, augmenting them with nods to crime films, Italian Baroque music, a Doisneau photograph, three 17th century paintings and an artificial way of speaking that is anything but current. The characters are positioned within the visual compositions and look directly into the camera, their diction flawless. Whatever needs saying – and that’s a lot – they recite impassively, in declamatory fashion. Along the way, there are jabs at the literature milieu and trendy yuppies. A film where divine seriousness rubs against bizarre comedy, where theology meets caricature, an intriguing film, anachronistic and innovative in equal measure.

A small Palestinian village is given permission to hold a traditional wedding on the condition that Israeli military officers attend as guests of honor.