Marco Müller

Director of Festival Internazionale del Cinema di Roma

Consulting Editor La Furia Umana


(Alphabetical Order)


Jiaoyou/Stray Dogs (CAI Mingliang -TSAI Ming-liang)

Norte, hangganan ng kasaysayan/Norte, the End of History (Lav Diaz)

Orlando ferito/Roland blessé (Vincent Dieutre)

Tir (Alberto Fasulo)

Trudno byt' bogom/Hard to Be a God (Aleksej Jurevic German)

L'Inconnu du lac/Stranger by the Lake (Alain Guiraudie)

Tian zhu ding/A Touch of Sin (Jia Zhangke)

Her (Spike Jonze)

Thwara Zanj/Zanj Revolution (Tariq Teguia)

Di Renjie zhi shendu longwang/Young Detective Dee: Rise of the Sea Dragon (Tsui Hark - Xu Ke)



Maria Bonsanti

Artstic Director of Cinéma du Réel


N°1: E agora? Lembra-me (J. Pinto)


Following, in random order:


L'inconnu du lac (Alain Guiraudie)

Norte, the end of history (Lav Diaz)

Redemption (Miguel Gomes)

At Berkeley (Frederic Wiseman)

The Congres (Ari Folman 

A touch of sin (Jia Zhang-Ke)


N° 9 Touch (Shelly Silver) + Cha fang (Zhu Rikun) + Fifi hurle de joie by (Mitra Farahani) + El otro Dia by (Ignacio Aguero)


N° 10 When you do your program for a festival, all the films that you invite are important for you. I cannot include them all, so I've decided to mention four (above in the list). But my tenth are all the others.


+ One re-release: Le joli mai by Chris Marker


PS. There are mainly omissions in my list, that is dramatically incomplete. For example, I've only seen a very small number of 2013 distributed titles, because we mainly watch films that will never be theatrically released. Conclusion: working for festivals prevents from going to cinema. 



Emilie Bujes

Selection Committe at Vision du Réel (Nyon)


(No order)


L'inconnu du lac (Alain Guiraudie)

A Spell To Ward Off The Darkness (Ben Rivers/Ben Russell)

Norte, The End of History (Lav Diaz)

Loubia Hamra (Narimane Mari)

What a fuck am I doing on this battlefield (Julien Fezans, Nico Peltier)

E Agora lembra-me (Joaquim Pinto)

The Joycean Society (Dora Garcia)

The Art of Disappearing (Bartek Konopka, Piotr Rosolowski)

Our Sunhi (Hong Sang-soo)

Nummer veertien, home (Guido van der Werve)



Wrong Cops (Quentin Dupieux)



Carlo Chatrian

Director of Festival del Film Locarno


E agora lembra-me (Joao Pinto)

Till Madness Do Us Apart (Wang Bing)

Die Anderen Heimat (Edgar Reitz)

L’inconnu du lac (Alain Guiraudie)

L’image manquante (Rithy Pahn)

Historia de la meva mort (Albert Serra)

Norte (Lav Diaz)

The Wind Rises (Miyazaki Hayao)

Mouton (Gilles Deroo & Marianne Pistone)

Metabolism or When Nights Falls in Bucharest (Corneliu Porumboiu)



Aliza Ma

Assistant Film Curator Museum of the Moving Image (New York)


(No order)


Listeninf to the Space in My Room (Robert Beavers)

A Touch of Sin (Jia Zhangke)

Stray Dogs (Tsai Ming-Liang)

Til Madness Do Us Part (Wang Bing)

Milles Soleis (Mati Diop)

Redemption (Miguel Gomes)

The Grandmaster (Wong Kar-wai)

Hard to Be a God (Alexei German)

Bastards (Claire Denis)

Manuscripts Don't Burn (Mohammad Rasoulof)




Mads B. Mikkelsen

Programmer at CPH:DOX and manager of the Ideal Cinematheque.


Bored to death. A worst case scenario less unlikely than it might seem at first, as we go over any past year in film. 2013 being no exception, looking for films with ideas of their own is as urgent as ever. But perhaps it’s time to take a less defensive stance… Perhaps it’s time to realizeyou’ve had enough… Time to shout it from the rooftops: to hell with bore-doom! À bas l’ennui! Boredom: FUCK it! Boring films: fuck ’em. Under the asphalt: the beach! (And under the beach… more asphalt.) Without getting too theoretical about it, boredom might be the essence of (modern) life, and cinema its most popular antidote. But we’re not talking the kind of boredom that can be cured by spectacle. And we’re not talking the kind of seemingly un-eventful films that your average viewer might find boooring. Rather, here’s to taking chances, raising opinions, making noise. That goes for the films, the filmmakers, and all the rest of us.


The Dirties (Matt Johnson, 2013)

The surprise party of the year. You just didn’t see it coming.


La última película (Raya Martin & Mark Peranson, 2013)

A film sent off into the world on a quote from Guy Debord: ”Being boring is counter-revolutionary. Always.”


San Diego Surf (Paul Morrissey & Andy Warhol, 1968)

Yeah, it’s old, but it’s new to me and everyone else who also never heard about it until it re-surfaced earlier this year. Joe Dallesandro is in it.


Loubia Hamra / Bloody Beans (Narimane Mari, 2013)

Tagline: The Return of the Repressed! They are going to EAT you!


Spring Breakers (Harmony Korine, 2012)

If I could turn back time I would erase the experience of The Bling Ring from my memory and go see Korine’s conceptual pop fantasy again. And again… And…


A Spell to Ward Off the Darkness (Ben Rivers & Ben Russell, 2013)

It could/should have been on the other side of five hours, but for a film so genuinely convinced that cinema can create worlds of its own in our minds, its spell does work wonders if you allow it to.


La danza de la realidad / The Dance of Reality (Alejandro Jodorowsky, 2013)

Another film made for the cinema of the mind where it will continue to grow like a mushroom cloud of pure creation.


Lettres du voyant / Visionary Letters (Louis Henderson, 2013)

According to its maker, an attempt at a ”pop” film.


Mille Soleils / A Thousand Suns (Mati Diop, 2013)

One of the brightest burning films this year.


A list of nine films: that leaves room for an avant-premiere which goes to the incomparable Abel Ferrara and his coming bio-pic double feature about Pasolini and Dominique Strauss-Kahn. Based on a true story, man.



Oona Mosna

Program Director of Media City Film Festival




Rhinoceros (Kevin Jerome Everson)


Alessandro de' Medici, making a passionate broadcast to rally the people of Florence.–Kevin Everson





























Despedida (Alexandra Cuesta)

Ecuador / USA

Boyle Heights in East Los Angeles. The neighbourhood resonates with the poetry of local resident Mapkaulu Roger Nduku. Verses about endings, looking and passing through; a string of tableaux gather a portrait of place and compose a goodbye letter to an ephemeral home.–Ann Arbor Film Festival





Radio Adios (Henry Hills)

(2013 preservation), USA

Radio Adios is a monologue in 12 plaited strands; an extremely precise, condensed and intensely rhythmic Busby Berkeley-ish spectacle of an examination of conversational and literary language over a fair range of vocal timbre, microphones, volume settings and single-system sync peculiarities.–Henry Hills




to be here (Ute Aurand)


The final part in a trilogy which began with INDIA (2005) filmed in Pune, and JUNGE KIEFERN (2011) filmed in Japan before and after the Miyagi earthquake.





Listening to the Space in my Room (Robert Beavers)

USA / Switzerland / Germany

Adhering to a solitary intimacy while simultaneously acting as an ode to human endeavour and shared impulses toward fulfillment through art, Listening to the Space in my Room is a moving testament to existence and our endless search for meaning and authenticity. The film's precise yet enigmatic sound-image construction carries a rare emotional weight.–Andréa Picard




Constellations (Helga Fanderl)

(composition for Wavelengths at TIFF, 2013)

Germany / France

By editing in the camera every subject matter finds a cinematic form and rhythm of its own. Transforming fragments of real life experience in a specific moment and place, every individual film is complete in itself and reflects the process of its creation. Programming my short films in new configurations is a very important part of my artistic practice, in accord with the way the films are created. As within each individual film, time is structured and rhythms are created within each composed series of films. One could characterize each program as one possible temporary ‘montage’, exemplifying essential aspects of the whole body of work. The interplay of different films evokes all kinds of correspondences and contrasts as it evokes an intense filmic cosmos in which one can easily loose the normal notion of time and space.– Helga Fanderl





Ambushed 'twixt Dusk and Dawn (Bruce McClure)


Two projectors are “sored” by inserting a metal plate into the film shoe and threaded with loops in a pattern of (2) frames of emulsion to (2) frames base (200 frames). The parent signals occur principally on the border (limbus) between emulsion and base when passing in front of a stage between the exciter bulb at the optical system. The parent signal is shunted into an array of guitar effects pedals that form a matrix 2 x 4 before going to the loudspeakers. Knobs controlling focus, framing, bulb intensity, distortion pedals, delays and equalizers provide access to the audience.–Bruce McClure





Home Movie Gaza (Basma Alsharif)

Egypt / Palestine

The Gaza Strip as a microcosm for a decline in civilization, finding perspective in a domesticity that is complicated, derelict, impossible to separate from its politics. – Basma AlSharif





Lunar Almanac (Malena Szlam)

Canada / Chile 

Moons in a journey through magnetic spheres, influencing subtle energies on Earth.– Malena Szlam





Three Landscapes (Peter Hutton)


A film study of human movement across three distinct landscapes; Detroit, Michigan, the Hudson River Valley, New York and the Dallol depression in Northeastern Ethiopia.




Davide Oberto

Curator of TFFdoc - Torino Film Festival


Educacao sentimental (Julio Bressane)

Pays Barbare (Yervant Gianikian, Angela Ricci Lucchi)

Loubia Hamra (Narimane Mari)

Norte, hangganna ng kasaysayan (Lav Diaz)

L'inconnu du lac (Alain Guiraudie)

Chroniques equivoques (Lamine Ammar-Khodja

Redemption (Miguel Gomes)

The Touch of Sin (Jia Zhangke)

E Agora? Lembra-me  (Joaquim Pinto)

Letter to a Refusing Pilot (Akram Zaatari)