TrustMovies did that within the first year or two of the distributor's existence, once I began renting its titles from Netflix, and realizing, after a time, that if the film came with the FM logo, it was going to be worth seeing. Period. And while I have enjoyed some movies much more than others, and have not, unfortunately, seen all 120 titles over this ten-year period, I can still say, nearly a decade later, that I have has not yet encountered a movie from FM with which I was sorry I bothered.
GreenCine.com, I did an article on this distributor, coupled to a short review/run-down of around 30 of the 40 films that had appeared so far. In the article, I mentioned that maybe the highest praise I could give this little company was the fact that my companion of 17 years (now of 23), who is much less easily pleased by a film than am I, when he would ask me what our entertainment for the evening was going to be, if I told him that the movie came from Film Movement, he'd be willing to take a chance on it. He still is (though by now he has encountered a film or two he could have lived without).
Aliyah, below, which has been chosen as the film to lead off FM's eleventh year. The first full-length film from Elie Wajeman, it was chosen as part of the Director's Fortnight at this year's Cannes film fest and involves a young Parisian drug dealer (and his older brother, played by director Cédric Kahn), torn between enjoying the high life in Paris or accomplishing his “aliyah” (the term for Jews emigrating to Israel) which involves, among other things, Hebrew lessons and connecting with his Jewish roots.
Alamar, below and at top, which really demands to be seen on a big screen like that at BAM. Combining narrative and documentary with a father/son tale, history, exotic location and surprising depth of character, this film is a "must" (you can read my earlier review of it, along with an interview with its Mexican filmmaker, Pedro González-Rubio, here).
The Forest for the Trees (below) as the must-see of the bunch. Those of you who caught Maren Ade's terrific Everyone Else (from spring, 2010) will want to see her first, and much darker, feature about a young school teacher trying to adjust and fit in. This is amazing stuff, with an finale that will quietly knock your socks off, as you murmur "No, no, no..."
BAMcinématek. For directions, click here.