As usual, too, these films come from all around the world -- Hong Kong to France, Britain to Japan, the U.S. to Bollywood -- and includes filmmaker just coming into their own, as well as newcomers and old-timers.
True this year, as almost every year, genre films make their appearance in this series, as does the occasional experimental oddity (we have two this time around), together with a movie by a storied filmmaker that for some reason (and rather embarrassingly, if you ask me) has not been picked up yet.
In that last category is the new and quite wonderful movie from Marco Bellocchio -- Dormant Beauty -- that explores his country's reaction to euthanasia and which was given quite the "dis" by Michael Mann at last year's Venice Film Fest. (Mr. Mann, I might add has not given us a film with any worthwhile content in more than a decade.) I'll have a review up of the new Bellocchio very soon. Meanwhile, put it on your list.
...and James Benning (who gives us lengthy scenes of a certain house that belonged to a certain person of interest).
Art-film favorite Michel Gondry is back, too, with a film that appears to divide audience rather thoroughly, and which opens here soon. We shall see....
There is often that odd and excellent movie that seems to have slipped somehow between the cracks for no good reason. I'm wondering if Australia's Kieran Darcy-Smith has this year's example.
Antonio Campos, who gave us the strange, stirring and under-seen AfterSchool is back with his new one, too....
Remember that lovely Uruguayan film Whisky? One of its two filmmakers is back this year with another film that sounds equally smart and small and real (and stylish).
What FCS series would be complete without that movie about a really sleazy subject, done stylishly and sexily? I suspect Mikael Marcimain's movie mixing politics, prostitution and a real-life Swedish scandal fills this bill.
World War II? Present and accounted for in the new film from the acclaimed director of My Joy, Sergei Loznitsa.