DC Film Society: Storyboard November 2019

November 2019

Posted November 1, 2019. Additions made November 2, 3, 4 and 7.

Coming Attractions, Winter 2019

Arabian Sights Film Festival

The Cinema Lounge

Adams Rib Examines an Underrated Classic: Eve's Bayou

Frankie: Q&A with Director Ira Sachs

The 44th Toronto International Film Festival

We Need to Hear From You

Calendar of Events

Last 12 issues of the Storyboard.

Coming Attractions Trailer Night Set for Nov. 25
Oldies But Goodies for a New Generation

There are at least two dozen. No, not presidential candidates. Winter movies coming your way! You’ll get to preview many of them by viewing the trailers at the Washington, DC Film Society’s Spring version of our twice-yearly “COMING ATTRACTIONS TRAILER NIGHT, WINTER 2019.”

DC Film Society Director Michael Kyrioglou says it’s set for Monday, November 25 at Landmark’s E Street Cinema (located on E Street between 10th and 11th Street, NW), from 7:00 pm to 9:00 pm. But that’s not all. In addition, DC’s favorite film critics Tim Gordon and Travis Hopson will guide you through the ins and outs of these upcoming films, dish the dirt on what’s happening in the film biz, and give you their opinion on what you see. But we also need your opinion and you will have a vote on the good, the bad, and the ugly of what’s on tap. We’ll let the studios know.

The program may include peeks at Star Wars: The Last Jedi, Tom Hanks as Mr. Rogers in A Beautiful Day in the Neighborhood, all-star Agatha Christie-style whodunit Knives Out, Uncut Gems with Adam Sandler, 21 Bridges with Chadwick Boseman, historical dramas Midway, The Aeronauts and 1917, dancing felines in the musical-to-film transfer of Cats, some Will Smith titles Spies in Disguise and Bad Boys For Life, Meryl Streep, Saoirse Ronan and Timothee Chalamet in Little Women, FoxNews drama Bombshell and Atlanta Olympic Park bombing tale Richard Jewell, the kid-targeted Disney’s Frozen II, Doolitte and Jumanji: The Next Level and more.

Tickets are a mere $5.00 for the general public, $3 for BASIC DC Film Society Members and FREE for DC Film Society GOLD Members and that entitles you to the ever-popular goodie bag, where you get your choice of movie promotional items, such as movie poster and t-shirts. There’ll be raffle prizes that include DVDs and movie tickets and much more. Check out our Coming Attractions page for a list of trailers to be shown.

Awards for the Arabian Sights Film Festival

Arabian Sights announces award-winners for the 24th annual Arabian Sights Film Festival.

Winner of the 2019 Arabian Sights Jury Award went to Arab Blues (Manele Labidi, 2019) from France. The jury stated that [Arab Blues] "reflects Tunisian (Arab) sorrows, joys, pains and dreams in a simple yet revealing approach. It is an amusing film which shows a colorful life and richness of the society and culture.”

Winner of the 2019 Audience Award went to Baghdad in My Shadow (Samir, 2019).

Thanks to all who attended!

The Cinema Lounge

The Cinema Lounge meets Monday, November 18, 2019 at 7:00pm. Our topic is Martin Scorsese.

Martin Scorsese has made films for over 50 years. Many of those films, such as Mean Streets, Taxi Driver, Raging Bull, and Goodfellas, are cinematic touchstones, inspiring and guiding filmmakers while becoming ingrained in popular culture. In addition to his feature films, Scorsese is also a prolific documentarian, profiling Bob Dylan, George Harrison, the Rolling Stones and his own family. If that weren't enough, Scorsese has become one of the world's preeminent film historians, creating The Film Foundation, which has restored over 850 movies. With the release of Scorsese's newest film, The Irishman, let's look back over his remarkable career.

The Cinema Lounge, a film discussion group, meets the third Monday of every month (unless otherwise noted) at 7:00pm at Teaism in Penn Quarter, 400 8th St., NW in Washington, DC (closest Metro stop is Archives, also near Metro Center and Gallery Place). NOTE: We will meet in the downstairs area. You do not need to be a member of the Washington DC Film Society to attend. Cinema Lounge is moderated by Adam Spector, author of the DC Film Society's Adam's Rib column.

Adams Rib Examines an Underrated Classic: Eve's Bayou

Kasi Lemmons's new film Harriet, a biopic of Harriet Tubman, opens today (November 1). So it was the perfect time to go back to Eve's Bayou, Lemmons's astonishing debut film 22 years ago. The film still holds all of its power and beauty. It's ripe for a rediscovery. Check it out in my new Adam's Rib column.

Frankie: Q&A with Director Ira Sachs

By Ron Gordner, DC Film Society Member

A Q&A was held at the 2019 Toronto International Film Festival of Frankie, the new movie from director Ira Sachs (Love is Strange, Little Men). The international cast includes Isabelle Huppert as actress Francoise or Frankie to her friends, Brendan Gleeson as her current husband, son Jeremie Renier, daughter Vinette Robinson with her husband and daughter, friend Marisa Tomei and other family and friends gathered by Frankie in Sintra, a resort area in Portugal. The film has a light Eric Rohmer feeling and distant cinematography and story is reminiscent also of Ozu or Kiarostami films. Frankie has a secret to share and unseen plans not to share with guests and family while strolling through the lush vistas. Huppert as always is superb. Through the granddaughter Maya and others gathered we get an intergenerational view of family, love, friendship, mortality, and responsibility.

TIFF Moderator: Can you talk a bit about the screenplay and story genesis, dialog, and character development of the film?
Ira Sachs: I once saw a film by Satyajit Ray, the great Indian director called Kanchenjungha (1962) about a wealthy family on vacation in the mountains of Darjeeling. I couldn’t get that film out of my mind, the constriction of the space and the family. After finishing my film Love is Strange I got a message from Isabelle Huppert how much she enjoyed the film and would like to work with me. How could I find a project to work with an international cast and the wonderful Isabelle Huppert, who I have admired for her many films. For some reason I thought about Sintra as a setting. I spoke to my mother who said we had visited there as a family when I was a child, so I had these strange good feelings already in place about the place. The landscape is wonderful and I wanted to tell a personal story there.

Audience Question: Can you comment on the part where Jimmy is stopping and talking to the Marisa character as the come down the mountain?
Ira Sachs: I just wanted to open a dialog of hope in this film about family’s dealing with bad news and it seemed like a natural thing and different from Frankie’s original plans. The machinations she is planning for her son and Marisa may turn out in a different way. So it is not just a film about death but about life and there is so much going on. I like the way a film even of this genre can change quickly as in life.

Audience Question: Can you discuss the relationship with the son and daughter who are step-siblings?
Ira Sachs: Every family has secrets and the characters are pushed a bit in their personas. This back story or romance psychologizes somewhat the past and Jeremie Renier is a wonderful actor. He started as a child actor with the Dardennes Brothers.

Audience Question: Can you comment on the use of water considering that they never really make to the water.
Ira Sachs: Interesting I get this question often. It’s a film about families and mythologies and an interesting playful place. I think Frankie is a truth teller and straight shooter. She helps her family but knows what’s coming.

Audience Question: Can you comment on the long prolonged shot of the characters walking up and down the mountain road?
Ira Sachs: That just happened. We had so much time to capture the light and it was just beautiful and a magical moment to pull back and let nature capture the interrelations of the people and their journeys. Also working that day with the crew I realized in a day the crew would be gone, but the vista would still be there and it affected me greatly. Actually a few weeks before a fire had burnt off and you get this scrub landscape like you are on the Moon or something magical. Also my movies are very theatrical, and the film is very constructed, so we have the characters leaving the stage left. They are types and by then you have some intimacy of what the characters offer.

Audience Question: How was it to work with different actors, languages, etc.?
Ira Sachs: I have often worked with Danish, Indian, and many European actors for many of my films. I don’t just work with American actors or American acting styles. European acting such as Isabelle’s is much different also from say Sir Laurence Olivier. They understood the story and we had no communication problems. Also I wrote the story with Isabelle, Jeremie, Marisa and Greg Kennear in mind for those roles so that also colored the writing and character development.

Audience Question: When did you give them the script, the day of shooting?
Ira Sachs: No. I went to Ireland and met with Brendan and gave him the script. I wanted them to see the dialog and story but not overly rehearse it. When we got together I just wanted them to read it aloud first and not really act it out. So the actors are doing much of the work. The director does more technical parts of staging them more than changing their acting.

Audience Question: Can you talk about the use and role of a first husband and his gazing of the others.
Ira Sachs: I had to construct an earlier husband and the present one as part of the ongoing family, because of using Isabelle and Jeremie from another marriage. I live with my husband and children across from their mother and her partner. I grew up in a family of divorced parents in multiple homes. I feel a family is made up of many people. I and my co-writer watched and loved many Ozu films and his character and settings. He always has two or three perceived generations of family in his wonderful movies. I try to identify who is the father, who is the son, etc. Ozu gives you the permission to keep making more family movies.

Frankie opens at the Avalon Theater and Angelika's Mosaic on November 1.

The 44th Toronto International Film Festival

By Ron Gordner, DC Film Society Member

The 44th Toronto International Film Festival (TIFF) was held from September 5-15, 2019 showcasing about 333 films (down from 372 last year) including 82 shorts, 6 series, and 245 features, documentaries, and retrospectives) and 133 world premieres from approximately 84 countries in 87 languages, including 26 Canadian features, 50% directed by female directors, and 25 Canadian shorts. Films selected also included 51 from first time narrative filmmakers and 13 including LBGTQ stories. It was attended by nearly 500,000 people, 5,400 industry personnel, and 1,200 journalists. Starting out as a collection of films from other festivals, the Toronto International Film Festival has now become one of the most beloved cinematic events in the world, universally regarded as an ideal platform for filmmakers to launch their careers and to premiere their new work, and one of the major film festivals where public screenings are held. TIFF has a large economic impact on Canada, Ontario and Toronto since it brings in over $170 million Canadian dollars annually and currently employs more than 100 full time staff, 500 part-time and seasonal staff and over 2,000 volunteers. The festival has become progressively more expensive per ticket depending on the venue and category, but is still one of the largest festivals offering public screenings. 4400 pounds of popcorn were popped at just the Lightbox this year.

Piers Handling, Director and CEO of TIFF announced he would be retiring or stepping down at the end of 2018 and was not a presence this year. He has been involved with TIFF for 37 years: first as a programmer, then as artistic director, and as director since 1994. He said the challenges of growing the TIFF Festival were many since it does not have as many juried awards as other festivals. Also the industry is changing with online players now like Amazon and Netflix. He hopes to write a book about cinema and stay somewhat connected to TIFF doing special programming in the future. Cameron Bailey assumed the title of Artistic Director and Co-Head of the Toronto International Film Festival and Joanna Vicente was named the new Executive Director and other Co-Head of TIFF.

TIFF, like some other festivals, has tried to support programming at least 35-38% of their films by female directors. This year, 36 per cent of the 333 films (full-length features and shorts) being shown at TIFF were directed, co-directed, or created by women. Other large festivals like Cannes and Venice had extremely low percentages of female directors represented this year, especially in the competition categories but equal representation should alter their selections in the future also if they wish to remain first level festivals. TIFF also included a number of NETFLIX films that Cannes and some other festivals have banned in the past.

The usual very long lines around the block were seen for some screenings in 27 venues, despite the fact that the Winter Garden and Elgin screening rooms, and the Princess of Wales are huge theatres and this year again those venues had assigned seating. Hopefully your assigned seats at those venues were in the orchestra and not balcony seating areas. Despite the assigned seats many times at these theatres there were the usual long lines since patrons were told to be in their seats 15 minutes early. I found arriving on time or after the lines had gone in made little difference to your assigned seat and many screenings were often up to 30 minutes late in going into the venue. Future assigned seating may lessen lines like those at the BFI London Film Festival that has all assigned seats for public screenings. In London they don’t want queues before about 15-20 minutes before a movie. One of the larger venues, the Scotiabank 14 cinema theatres had a policy of not showing Netflix films, so those were primarily at the Lightbox or other theatres. Rumors that the Scotiabank theatres may be taken down as a construction plan for the coming years may mean TIFF will be scrambling next year or later to find enough screens again for the festival. The Isabel Bader, Varsity and Bloor Hotdocs screens were not used this year but have been in the past. The AMC theatres also near the Eaton Center were also used some years but are used for Ryerson University for classrooms sometimes.

TIFF has sections or categories of films and also has some art installations. Sections this year were: Gala Presentations, Masters, Special Presentations, TIFF for free (some free films publicly screened outdoors and a free additional screening of the Audience Award winner on the last Sunday), Discovery (first and second time filmmakers); a record number 46 films this year from 37 countries, TIFF DOCS (documentaries), Contemporary World Cinema, Canadian Programming, TIFF KIDS, Visions (filmmakers who challenge our notions of mainstream cinema), Primetime (TV movies), Wavelengths (avantgarde cinema), and their famous Midnight Madness section (primarily horror and black comedy films screening at Midnight with usually an appreciative and rowdy crowd). The Wavelengths category described as: daring, visionary, and autonomous voices. Primetime included serial television storytelling that shows how recent tv films are blurring the line between big screen and small screen viewing experiences.

There was lots of swag or free food the first week on the blocked King St. including the Nespresso (McDonalds’ was out this year as sponsor) Air France’s Eiffel Tower popup café with free bonbons and raspberry champagne, Bubbly fizzy drinks, VISA card candy, and Pure Leaf tea samples. There was also a TIFF stage the first week with live music. Lines were not as long at Sweet Jesus ice creamery this year either and miraculously the escalators at Scotiabank theatre did not break down as they had in some previous years.

TIFF has become a major market and sales stop for films to North America. There is a small market at the Venice Festival but it is really Toronto where they are primarily sold.

Some films picked up for U.S. distribution included Dad, The True History of the Kelly Gang, Lyrebird, Military Wives, The Sound of Metal, The Two of Us, The Personal History of David Copperfield, Waves, and The Burnt Orange Heresy. Oscar buzz was heard around actors like Renee Zellweger for Judy, Scarlett Johansson for Jojo Rabbit or The Marriage Story, Tom Hanks for A Beautiful Day in the Neighborhood, Jonathan Pryce and Anthony Hopkins for The Two Popes, and Adam Driver for The Report or The Marriage Story. Parasite also got lots of notice for Best International Film or even best Film or Screenplay. A film missing from TIFF this year that may be Oscar favorites was The Irishman.

There were a number of strong female driven films this year and those again on the plight of immigrants, fractured families and substance abuse.

Films seen or highly recommended by others at TIFF 2019 included some that may have already played at local theatres:

MUST SEE FILMS:

Adam (Maryam Touzani; Morocco/France/Belgium 2019). The actress/director’s first feature film is the story of two different women in Casablanca. Pregnant, homeless Samia tries to find work and shelter going door to door with little luck. An intimate story of the exchanges between two women and their small families. Was shown at recent 2019 Arabian Sights in DC and is Morocco’s nominee for Best International Feature Film.

Balloon (Pema Tseden; China [Tibet] 2019). 2018. The director’s recent 2018 film Jinpa will be shown with the director at the Freer Sackler Gallery on Friday Nov. 1, 2019. Balloon is about a Tibetan family of herders and their survival and destiny in an ever-changing world that challenges their traditions and religious communities.

The Cave (Feras Fayyad, Syria/Demark/Germany/US/Qatar; 2019). One of the top reviewed documentaries of the year. Dr. Amani, a female doctor works in an underground hospital in Ghouta, on the outskirts of Damascus. In spite of daily emergencies and bombings and influx of patients she is still dealing with chauvinistic men who think she should be at home instead of saving lives. Very graphic depiction of ongoing war and the resilience of the staff and people of Syria. A good film to accompany another Syrian documentary about surviving in Aleppo this year called For Sama. Both films are slated to open soon at the West End Landmark theatre.

Corpus Christie (Jan Komasa, Poland/France; 2019). Twenty year old Daniel has spent much time in a youth detention center and has been sent on to a sawmill job in the country. Somehow he ends up in the town and is thought to be the replacement priest. With little ecclesiastical knowledge, and experience as an alter boy, how can he serve a divided community. Also a study of the corruption and powers of state and church and forgiveness on many levels. Another strong Oscar contender for Poland for Best International Feature Film this year.

Heroic Losers (Sebastian Borensztein, Argentina/Spain; 2019. Ricardo Darin and his real son Chino star in this thriller set in a small community in rural Argentina. In 2001, the Depression has started and banks failing after managers got clients to invest before the fall. Fermin (Ricardo) runs a small gas station and garage and has a plan to help the people who lost most to the unscrupulous bankers and become a modern Robin Hood but it will require the cooperation of towns folk and expert timing. This is Argentina’s submission for Best International Feature Film.

Jojo Rabbit (Taika Waititi, US; 2019). New Zealand actor/director agreed to play an imaginary friend (Hitler) for Jojo Betzler, a small boy proud to be in the Hitler youth movement. Hilarious yet dramatic turn on the end of World War II in Germany which won the Audience Award at TIFF this year. Scarlett Johansson plays Jojo’s loving mother who has a secret in the house. This film recently opened in our area.

Judy (Rupert Goold, United Kingdom; 2019). Based on Robert Quilter’s stage play End of the Rainbow, this is an intimate look at Judy Garland’s last year of life performing in England. The film cleverly flashes back to Judy as a young girl also at MGM Studios with Louis B. Mayer and her mother starting her on her diets and dangerous pills. In London we see her crippled with substance abuse, stage anxiety, and loneliness trying to put on a show and make some money to see her kids. Rene Zellweger is astonishing as Judy and maybe the front runner for an Oscar for best Female Performance in a Leading Role this year. The film opened in October and is still playing at some venues.

The Marriage Story (Noah Baumbach, US; 2019). Adam Driver and Scarlett Johansson star as a bicoastal couple dealing with a separation and child custody issues. Both will probably be nominated for their acting in this film. A happily married couple find their relationship crumbling and needs varying and then interference from others really construes and strains their family relationships. The film was runner up in the Audience vote and should be one of the top films up for Best Film of the Year.

Parasite (Boon Joon-ho, South Korea; 2019). One of the best films of the year. His favorite actor, Song Kang-ho is the father of an unemployed family living in a small squalid basement. The son obtains a bogus job as English tutor for a girl in a rich private household. The film deals with the class struggles in society and the elite or spoiled nature of some people. Winner of the Palme d’Or at the 2019 Cannes Film Festival and submission for S. Korea for Best International Feature Film and possibly Best Film and other accolades. A film for discussion and rumination long after viewing it. Parasite is currently in area theaters.

The Perfect Candidate (Haifaa Al-Mansour, Saudi Arabia/Germany; 2019). Maryam is a dedicated physician in a small community but must deal with chauvinism and travel restrictions despite her accomplishments. The film has been submitted by Saudi Arabia for this year’s Best International Feature Film.

Sorry, We Missed You (Ken Loach, United Kingdom; 2019). Another film related work or labor and a family struggling to survive in modern England. The father, a former construction worker, invests in a van as a white van delivery service, mother continues as a home care nurse, and a teenage son sometimes not making wise choices and a younger daughter. The film will be screened at the AFI 2019 European Union Showcase in December 2019.

Synonyms (Nadav Lapid Ceylan, France/Israel/Germany; 2019). Yoav, a young Israeli ex-soldier decides to move to Paris and try to lose his Israeli identity. Hounded by ghosts from his past and trying to assimilate into French society and a job become real struggles for the very emotive Yoav. Winner of the Golden Bear Award at the 2019 Berlin Film Festival. The film will play this Winter at the Edlavich Center and Landmark theatres locally.

The Two Popes (Fernanco Meirelles, (US/United Kingdom/Italy/Argentina; 2019). Brazilian director of City of God takes the 2013 Papal choice of Argentine Cardinal Jorge Mario Bergoglio (Jonathan Pryce) taking over for Pope Benedict (Anthony Hopkins) and the eventual acceptance of a much more liberal Papal stance on many social and Church issues.

Women Make Film: A New Road Movie Through Cinema (Mark Cousins United Kingdom, 2019). 840 minutes or can be shown in series parts. Using over 700 film clips from archives of 183 female directors films, he organizes the collection as a syllabus on themes and techniques of filming. For TIFF he separated the 14 hours into 5 sections dealing with tone, dialog, character development, portrayal of themes like religion, sexuality, work, comedy, etc., melodrama and other genres, and interiors, love, death, song and dance.

VERY GOOD FILMS:

A Bump Along the Way (Shelly Love, United Kingdom [N. Ireland], 2019). Set in Derry, Northern Ireland, middle-aged mother Pamela (Bronagh Gallagher) still likes to have a good time at the exasperation of her teen daughter Allegra (Lola Pettigrew) who is a vegan and serious student and horrified to find her mother may be pregnant.

The Climb (Michael Angelo Covino, US, 2019). Based on a similar short film, pals Mike and Kyle are riding bikes in Southern France when truths and friendships are tried with confessions near an upcoming wedding. A comedy about toxic masculinity and the trials of maintaining some friendships over a lifetime.

Frankie (Ira Sachs, France/Portugal, 2019). American director Sachs leaves his New England or New York settings for Sintra in Portugal for a family drama reminiscent of an Eric Rohmer film where Isabelle Huppert is Francoise or Frankie and has gathered her family and friends for a holiday and surprise announcements. The family includes children and husbands, past and present, and secrets to unfold. Huppert, as usual, is superb with other actors, Brendan Gleeson, Marisa Tomei, Jeremie Renier, and Greg Kennear in an international cast. The film opens in early November in the DC area. See above for a director Q&A.

Hope (Maria Sodahl, Norway/Sweden, 2019). A middle-aged couple involved in dance and theatre have combined marriage families. She is a workaholic dance producer who gets some devastating news from her physician and tries to keep everything running as usual until it doesn’t. Based in part on the director’s own life.

Kuessipian (Myriam Verreault, Canada, 2019). The film has been adapted from best selling novel Kuessipian by Naomi Fontaine that follows two girls growing up in a Quebec Innu community and their interpersonal adventures and lives and those with the outside world. One wants a conventional marriage and children, the other ventures afar with her artistic and writing talents into the outer Canadian society and maybe even to have a white boyfriend.

Mariam (Sharipa Urazabyeva, Kazakhstan 2019). In a rural village Mariam lives with her husband and four children. One day her husband just disappears, leaving her to fend with the herd, children, and economic survival and trying to find what happened to her husband. Based on a real story from the news, the director got many of the real people to play themselves in this film that skirts its way between documentary and a feature film.

The Personal History of David Copperfield (Armando Iannucci, United Kingdom, 2019). The director of the recent The Death of Stalin this is a sweeping version of Dickens' David Copperfield particularly the funny bits with an international and diverse casting including Tilda Swinton and Aunt Betsy Trotwood, Dev Patel as Copperfield, Hugh Laurie as Mr. Dick, and Ben Wishaw as Uriah Heep.

Portrait of a Lady on Fire (Celine Sciamma, France, 2019). A bodice ripping costume drama that was the Queer Pal and Best Screenplay winner at this year’s Cannes Film Festival. Eighteenth Century Brittany coast is the setting of a female painter commissioned to paint a portrait of the beautiful daughter of an aristocratic family. Beautiful cinematography and a slow burning passion and bittersweet love story that was surprisingly not chosen as France’s submission for the Best International Feature Film over Les Miserables (Ladj Ly)this year.

Son-Mother (Mahnaz Mohammadi, Iran/Czech Republic, 2019). A first feature film dealing with a working widow and her young 12 year old son surviving society and religious constraints. Her relatives try to marry her off and if she marries a man with a teenage daughter it creates a barrier to keeping her son in her home. Based on a variety of real-life situations and cultural and societal laws.

The Truth (Hirokazu Kore-eda, France/Japan, 2019). From the renowned director of Shoplifters and other family dramas from Japan goes to France for an international film about a mother-daughter relationship starring Catherine Deneuve and Juliette Binoche, and Ethan Hawke. The publishing of her memoir leads Fabienne (Deneuve) to be questioned about its veracity by her daughter Lumir (Binoche) and its motives.

The Workforce (David Zonana, Mexico, 2019). This film feels like a documentary about day workers building a house in Mexico City. Two brothers work on the construction site and one has a fall and dies. The surviving brother is told his brother had alcohol in his lab tests and cannot collect money for the accident. The brother did not drink so a cover up at many levels is suspected. The boss also is far behind in paying the staff for their work. An interesting plot rolls out on how the surviving brother squats in the house and brings in additional folks. A power play or Animal Farm type of situation may also result.

GOOD FILMS:

143 Sahara St. (Hassen Fehani, Algeria, 2019). Malika, an older woman in the Sahara has a very small café that people stop along a long highway. A variety of travelers stop and we slowly gain their and Malika’s backstories.

August (Armando Capo, Cuba/Costa Rica/France, 2019). A Cuban coming-of-age film about teen Carlos in a small rural town living with his parents and grandmother and constantly hearing about fellow Cubans and immigrants who have tried or died going on small boats to America. As he tries to live a normal teenage life, international politics slowly change everything.

Comets (Tamar Shavgulidze, Georgia, 2019). This a love story of types crossing generations. Irina and Nana were very close friends as teens and had a secret affair until Irina moved away. Now 55 years old, Irina reappears in Nina’s life who is now married and with children of her own.

The County (Grimur Hakonarson, Iceland/Denmark/Germany/France, 2019). A milk co-op in rural Icealand which began in good faith has become out of control on bullying members who go outside their rules. Inga questions her devotion to the co-op when it means they are losing money and investigates and protests some rules with dire results.

Ema (Pablo Larrain, Chile, 2019). Reliable director of Jackie and Neruda sets this film in the seaside Valpariso about Ema, a talented but raw dancer and her choreographer husband (Gael Garcia Bernal). Their 12 year old adopted son seems out of control at school and sets in place Ema’s need to re-find herself also.

The Fever (Maya Da-Rin, Brazil/France/Germany, 2019). An interesting story about migrant workers in Brazil from the Amazon working and adapting in the cities, in this case the port city of Manaus and a dock workers fever or being drawn back to the beauty, nature and rhythm of his homeland.

Red Penguins (Gabe Polsky, US/Russia, 2019). A documentary on the 1990’s Soviet national hockey team and loss of many players to the West for professional hockey money. An American salesman Steve Warshaw was recruited by the Soviets to revitalize the national team and branding of various big advertisers. All did not go well when Russian mafia and KGB prosecutors got involved in this media circus.

Sea Fever (Neasa Hardiman, Ireland/Sweden/Belgium/United Kingdom, 2019). An Irish sci-fi adventure involving marine biologists, folklore, murders, and strange bioluminescent creatures.

To the Ends of the Earth (Kiyoshi Kurosawa, Japan/Uzbekistan/Qatar, 2019). Kurosawa, a reliable sci-fi director turns his attention to Uzbekistan and the Silk Road and a young woman host of a popular Japanese travel show who has many adventures in the streets of a strange foreign city, has humor and drama.

You Will Die at Twenty (Amjad Abu Alala, Sudan/France/Egypt/Germany/Norway/Qatar, 2019). A young woman goes to have her newborn son blessed and something happens that the baby is cursed instead and it is said he will die before reaching 20 years of age. Muzamil has a difficult childhood in the village, either derided or shunned by many. As he nears his 20th birthday his estranged father returns and many watch what will happen to the young man.

THE OFFICIAL TIFF 2019 AWARDS:

Grolsch People's Choice Award: Jojo Rabbit; first runner-up: The Marriage Story; 2nd runner-up: Parasite.

People's Choice Award For Documentary: The Cave (Syria), directed by Ferra Fayed. The first runner-up is Gavin Hovannisian's I am Not Alone. The second runner-up is Bryce Dallas Howard’s Dads.

People's Choice Award For Midnight Madness: Galder Gaztelu-Urrutia’s The Platform (Spain), first runner-up: Andrew Patterson’s The Vast of Night; second runner-up is Jeff Barnaby’s Blood Quantum.

Air France Platform Prize: Pietro Macelo’s Martin Eden (Italy).

Best Canadian Feature Film: Sophie Deraspe’s Antigone.

City of Toronto Award for Best Canadian First Feature Film: Matthew Rankin’s The Twentieth Century.

Prizes of the International Critics (FIPRESCI Prize) for Special Presentations Section: Coky Giedroyc’s How to Build a Girl.

Prizes of the International Critics (FIPRESCI Prize) for Discovery Section: Discovery Programme: Heather Young’s Murmur.

NETPAC Award For Best Asian Film: Oualid Mouaness’ 1982 (Lebanon).

Award For Best Canadian Short Film: Chloé Robichaud’s Delphine.

Award For Best International Short Film: Lasse Linder’s All Cats Are Grey in the Dark.

Check local theater listings and upcoming festivals such as AFI’s European Union Film Festival and the DC Jewish Film Festival which may have some of these and other films in the coming months.

Other Reviews and Awards: Indiewire’s critic Wire survey of top film critics and bloggers selected their favorite films, directors, and performances at TIFF2019. Top 3 films were Parasite, Marriage Story, and Jojo Rabbit.

For more information about the TIFF 2019 see the TIFF website.

We Need to Hear From YOU

We are always looking for film-related material for the Storyboard. Our enthusiastic and well-traveled members have written about their trips to the Cannes Film Festival, Karlovy Vary Film Festival, London Film Festival, Venice Film Festival, Telluride Film Festival, Toronto Film Festival, Austin Film Festival, Edinburgh Film Festival, the Berlin Film Festival, the Palm Springs Film Festival, the Reykjavik Film Festival, the Munich Film Festival, and the Locarno Film Festival. We also heard about what it's like being an extra in the movies. Have you gone to an interesting film festival? Have a favorite place to see movies that we aren't covering in the Calendar of Events? Seen a movie that blew you away? Read a film-related book? Gone to a film seminar? Interviewed a director? Taken notes at a Q&A? Read an article about something that didn't make our local news media? Send your contributions to Storyboard and share your stories with the membership. And we sincerely thank all our contributors for this issue of Storyboard.

Calendar of Events

FILMS

American Film Institute Silver Theater

The AFI takes part in the "Films Across Borders" series. This year's theme is "Stories of Water." One remaining title in November: Mad Max: Fury Road (Black and Chrome Edition. See the website for more locations.

The "Silent Cinema Showcase" (October 25-November 26) returns with newly restored screen classics and rare gems from the silent era. Titles in November are The Phantom Carriage (1921) with live music accompaniment by Not So Silent Cinema; Haxan: Witchcraft Through the Ages (1922) with music by Not So Silent Cinema; Our Hospitality (1923) shown with The Paleface (1922) with live music by Ben Model; Forbidden Paradise (1924) with music by Ben Model; Girl Shy with music by the Columbia Orchestra performing an original score by Robert Israel; The Oyster Princess (1919) with music by the Flat Earth Society Ensemble; a program of Laurel and Hardy short films including Duck Soup (1927), Liberty (1929), Wrong Again (1929) and Two Tars (1928) with music by Ben Model; The Racket (1928) with music by Donald Sosin and Joanne Seaton; Filibus: The Mysterious Air Pilot (1915) with music by Donald Sosin and Joanna Seaton; Sherlock Junior (1924) shown with One Week (1920); a program of Buster Keaton shorts including Neighbors, The High Sign, The Goat and Cop with music by Donald Sosin and Joanna Seaton; Metropolis (1927) with music by the Alloy Orchestra; Gallery of Monsters (1924) with music by the Alloy Orchestra; Variety (1925) with music by the Alloy Orchestra; A Fool There Was (1915) with music by Philip Carli and Flower City Society Orchestra; The Wheels of Change (1922) with music by Philip Carli and Flower City Society Orchestra; Song of the Scarlet Flower (1919) with music by Gabriel Thibaudeau; Sir Arne's Treasure (1919) with music by Gabriel Thibaudeau; Male and Female (1919) with music by Gabriel Thibeaudeau; and Don't Change Your Husband (1919) with music by Gabriel Thibeaudea. Note that many are restorations, some are 35mm and some are free. Almost all have live music accompaniment, see the website for exceptions.

"Juraj Herz: In and Out of the Czechoslovak New Wave" (October 27-November 26) continues in November with Morgiana (1972); Caught By Night (1986) in 35mm; Beauty and the Beast (1978); Oil Lamps (1971); Sign of Cancer (1967); Ferat Vampire (1982); and The Junk Shop (1965) followed by Golden Sixties (2009).

"Taiwan Cinema Rediscovered" (October 27-November 21) includes classics and new films. Titles in November are Taipei Story (1985); 20 30 40 (2004); The Wedding Banquet (1993); A Brighter Summer Day (1991); Nina Wu (2019); and Rebels of the Neon God (1992).

"Preston Sturges Showcase" (November 15-21) is a week of Sturges' best-known films: Easy Living, Sullivan's Travels, Palm Beach Story and The Lady Eve.

This year's "Kids Euro Festival" (October 20-November 10) shows kids films from countries in the European Union. Titles in November are Phantom Owl Forest (2018) from Estonia; Marona's Fantastic Tale (2019) from Belgium; Early Man (2018) from the UK; and Gordon and Paddy (2017) from Sweden.

Special Engagements in November include Black Orpheus (1959); Carmen and Lola (2018) from Spain, The Fight Club (1999), Punk the Capital: Building a Sound Movement and Reel Rock 14.

Freer Gallery of Art
A series of Japanese classic films continues at the Freer. On November 6 at 2:00pm is Godzilla (Ishiro Honda, 1954).
On November 1 at 7:00pm is Jinpa (Pema Tseden, 2018) with the filmmaker in attendance, also signing his book Enticement: Stories of Tibet. On November 3 at 2:00pm is Fukuoka (Zhang Lu, 2019) with the filmmaker in attendance. Both are part of the series "Meet the Filmmakers: Pema Tseden and Zhang Lu."

On November 7 at 2:00pm is A Touch of Zen (King Hu, 1971) in a 4K restoration. Shown as part of the DC Chinese Film Festival.

On November 8 at 7:00pm is Commitment (Semih Kaplanoglu, 2019), Turkey's official Oscar pick. On November 10 at 1:30pm is Heroes (Köken Ergun, 2019), about visitors to the WWI site Gallipoli. On November 10 at 3:30pm is Dead Horse Nebula (Tarik Aktas, 2018). On November 10 at 5:30pm is Something Useful (Pelin Esmer, 2017). On November 15 at 7:00pm is Turkish Ice Cream (Can Ulkay, 2019). On November 16 at 1:00pm is Noah Land (Cenk Ertuk, 2019). On November 16 at 3:30pm is the deadpan comedy The Announcement (Mahmut Fazil Coskun, 2018). All are part of the series "DC Turkish Film Festival."

On November 23 at 2:00pm is 10 Days Before the Wedding (Amr Gamal, 2018), the first film from Yemen to be released commercially in more than 40 years. The filmmaker will be present for discussion.

On November 24 at 2:00pm is the restored Shiraz: A Romance of India (Franz Osten, 1928), a silent film with a new soundtrack by Anoushka Shankar. Before the film, meet the curator of South and Southeast Asian Art at 1:00pm to see treasures from the Mughal collection. Part of the series "Cinema Revived."

National Gallery of Art
While the National Gallery of Art's East Building Auditorium is being renovated films are shown in the West Building Lecture Hall and the AFI Silver Theater.

"Welcome to Absurdistan: Eastern European Cinema 1950 to 1989" (November 2-24), films from former socialist republics of Eastern Europe including Czechoslovakia, Ukraine, Lithuania, Romania, Poland, and Hungary, expressing the ludicrousness of authoritarian rule through creative varieties of absurdity. Many of the films are new restorations or making their North American premieres. On November 2 at 1:00pm is The Selection (Gyula Gazdag, 1970) shown with The Witness (Peter Bacso, 1969), both from Hungary. On November 3 at 4:30pm is March, March! Tra-ta-ta! (Raimondas Vabalas, 1965) from Lithuania. On November 9 at 1:30pm is The Barnabas Kos Case (Peter Solan, 1964) from Slovakia, introduced by Rastislav Steranka. On November 9 at 4:00pm is The Reenactment (Lucian Pintilie, 1968) from Romania, introduced by Gabriel M. Paletz. On November 10 at 4:00pm is I Don’t Like Mondays (Tadeusz Chmielewski, 1971) from Poland, introduced by Gabriel M. Paletz. On November 17 at 4:00pm is Case for a New Hangman (Pavel Juracek, 1969) preceded by The Uninvited Guest (Vlastimil Venclik, 1969), both from Czechoslovakia, introduced by Gabriel M. Paletz. On November 23 at 12:30pm is a program of three short films including A Figure to Support (Pavel Juracek and Jan Schmidt, 1963); Two Men and a Wardrobe (Roman Polanski, 1968); and The Garden (Jan Svankmajer, 1968). On November 24 at 4:00pm is The Asthenic Syndrome (Kira Muratova, 1989) from the USSR. All are shown in the West Building Lecture Hall.

Special events in November include Breaking the Frame (Marielle Nitoslawska, 2012), on November 16 at 2:00pm, a profile of the New York artist Carolee Schneemann. The filmmaker will be present to discuss the film which is followed by a selection of short films by Schneemann. On November 11 at 3:00pm is La Pointe Court (Agnes Varda, 1954) as part of the "Seven Women" film festival. On November 2 at 4:00pm is "Animation Beyond Cinema," a selection of works from the Animator Festival held annually in Poland with Anna Glowinska and Peter Burr in person. All are in the West Building Lecture Hall.

Several "Cine-Concerts" are shown at the AFI Silver Theater. On November 17 at 1:00pm is Gallery of Monsters (Jaque Catelain, 1924) with the Alloy Orchestra providing live music accompaniment. On November 17 at 3:30pm is Varieté (E.A. Dupont, 1925) with the Alloy Orchestra. On November 22 at 7:30pm is A Fool There Was (Frank Powell, 1915) with Philip Carli and Flower City Society Orchestra. On November 23 at 2:00pm is Wheels of Chance (Harold M. Shaw, 1922) with Philip Carli and Flower City Society. All are shown at the AFI Silver Theater. For more films in this series of silent films, see the AFI Silver Theater above.

"We Tell: Fifty Years of Community Media" (November 23-December 21), a five-part series about the 50 year history of community media in the US. On November 23 at 2:00pm is a collection of short films focusing on the concerns of the LGBT communities. More in December.

Hirshhorn Museum and Sculpture Garden
On November 4 at 6:00pm is Desolation Center (Stuart Swezey, 2018), a documentary about the early 1980s guerrilla music and art performance happenings in Southern California. The filmmaker who was also the creator and organizer of these events, will be present for Q&A. Part of the "Music Movie Mondays" Smithsonian Year of Music series.

On November 16 at 2:00pm and November 18 at 12:30pm is Walkaround Time (Charles Atlas, 1973), a documentary dance production with Merce Cunningham. Art historian Katherine Markoski will introduce the film and take part in discussion.

Museum of American History
"Food Film Festival" includes two recent feature films involving food. On November 9 at 1:20pm is The Hundred-Foot Journey (Lasse Hallstrom, 2014) starring Helen Mirren. On November 9 at 3:30pm is Julie and Julia (Nora Ephron, 2009) starring Amy Adams and Meryl Streep.

On November 23 at 3:30pm is Elephant Path/Njaia Njoku (Todd McGrain, 2018), a documentary about commitment in the Central African Rainforest. The filmmaker and the film's subject Andrea Turkalo will be present for discussion.

Smithsonian American Art Museum
On November 13 at 6:00pm is Street Heroines (Alexandria Henry, 2018), a documentary about female street artists. The filmmaker will be present for discussion.

National Museum of Women in the Arts
On November 6 at 6:30pm is the "empty nest" drama Journey to a Mother's Room (Celia Rico Clavellino, 2018) with the filmmaker present for Q&A after the film.

Washington Jewish Community Center
The newly renovated JCC has begun its new film program. Titles in November include Fig Tree (Aäläm-Wärqe Davidian, 2018) from Ethiopia, some screenings have the filmmaker present for Q&A; the documentary In the Land of Pomegranates (Hava Kohav Beller, 2017) from Israel with discussion afterwards; Anton (Zaza Urushadze, 2019) from Georgia/Ukraine; the documentary Partisans of Vilna (Josh Waltezky, 1986); Rosenwald (Aviva Kempner, 2015); Yoo-Hoo, Mrs. Goldberg (Aviva Kempner, 2009); The Life and Times of Hank Greenberg (Aviva Kempner, 1998); The Spy Behind Home Plate (Aviva Kempner, 2019). See the website for dates, times and tickets.

Goethe Institute
The 27th edition of Film|Neu, contemporary films from Germany, Austria and Switzerland, takes place November 14-17 at Landmark's E Street Cinema. The Opening Night film is the award-winning All About Me (Catherine Link, 2018). Following the screening is a discussion with screenwriter Ruth Toma and a reception. The Closing Night film is Gundermann (Andreas Dresen, 2018), preceded by a reception at 6:15pm and followed by a discussion with cinematographer Andreas Hofer. Other titles are 25 KM/H (Markus Goller, 2018); Zwingly (Stefan Haupt, 2019) from Switzerland; Berlin Bouncer (David Dietl, 2019); Happiness Sucks (Anca Miruna Lazarescu, 2018); The Miracle Method (Michael Kreihal, 2018) from Austria; a program of short films and a roundtable discussion. Most films have won awards at various film festivals.

The Shakespeare Theater
On November 8 at 6:00pm is a collection of short films, shown as part of the "Kids Euro Festival."

Strathmore
On November 23 at 8:00pm is the great silent classic film The Passion of Joan of Arc (Carl Theodor Dreyer, 1928) with live accompaniment by the National Philharmonic Orchestra and Chorale! performing Richard Einhorn's Voices of Light.

French Embassy
On November 5 at 7:00pm is the award-winning documentary Oceans, the Mystery of the Missing Plastic (Vincent Perazio, 2016), part of the "Films Across Borders: Stories of Water" series. A discussion follows the screening.

"The Creative Mind of Michel Gondry" presents a pair of Gondry films. On November 12 at 7:00pm is The Science of Sleep (Michel Gondry, 2006) starring Charlotte Gainsbourg and Gael Garcia Bernal. On November 26 at 7:00pm is Mood Indigo (2013) starring Romain Duris and Audrey Tautou.

The French Embassy hosts the Closing Night film in the "Seven Women" series. On November 18 at 7:00pm is Paul Sanchez est revenu! (Patricia Mazuy, 2018) with the filmmaker present for Q&A.

The Japan Information and Culture Center
On November 20 at 6:30pm is Japanese Girls Never Die (Daigo Matsui, 2016).

The Environmental Film Festival "Films by Taylor Graham" is a selection of two river-related short films Seldom Seen Sleight (2018) and Glen Canyon Rediscovered (2018), followed by a discussion with the filmmaker. Part of the "Films Across Borders" series. Location: Eaton DC.

The Textile Museum at GWU
On November 14 at noon is Immortal Egypt: Invasion (2015), part of a BBC documentary series. On November 14 at 5:00pm is RiverBlue (2016), a feature length documentary about pollution by the fashion industry.

National Archives
On November 7 at 7:00pm is the documentary Just Like Me: Vietnam War Stories from All Sides (Ron Osgood, 2018), followed by a discussion with the filmmaker.

On November 21 at 6:30pm is a 15th anniversary screening of National Treasure (Jon Turteltaub, 2004). Fun activities related to the film precede it; come dressed as your favorite National Treasure character.

Bethesda Row
"Cinema Arts Bethesda" is a monthly Sunday morning film discussion series. On November 3 at 10:00am is Custody (Xavier Legrand, 2017) from France. On November 24 at 10:00am is Yomeddine (A.B. Shawky, 2018) from Egypt.

Breakfast is at 9:30am, the film is at 10:00am and discussion follows, moderated by Adam Spector, host of the DC Film Society's Cinema Lounge and author of the column "Adam's Rib." A season pass is available.

The Avalon
On November 3 at 10:30am and November 5 at 10:30am is the documentary Leonardo: The Works (Phil Grabsky, 2019), released on the 500th anniversary of da Vinci's death. Part of the "Exhibition on Screen" series.

On November 6 at 8:00pm is the documentary Miles Davis: Birth of the Cool (Stanley Nelson, 2019), as the "Programmer's Choice" pick for November.

On November 13 at 8:00pm is From the Other Side (Chantal Akerman, 2002), a documentary about Mexicans who cross the border illegally into the U.S. This film is also part of the "Seven Women" film festival; festival programmer Nicholas Elliott will participate in Q&A after the screening. Part of the "Films in Focus" series.

The "French Cinematheque" film for November is Sofia (Meryem Benm'Barek-Aloïsi, 2018), from Morocco, on November 20 at 8:00pm.

On November 26 at 8:00pm is Love in Suspenders (Yohanan Weller, 2019) for this month's "Reel Israel" film.

Hasna
On November 7 at 8:00pm is the Oscar-nominated Turkish film Mustang (Deniz Gamze Ergüven, 2015). Location: the Avalon Theater. Not part of Avalon's programs, tickets will be available at the door or in advance from HasNa.

Italian Cultural Institute
On November 7 at 6:00pm is the neo-realist drama The Vice of Hope (Edoardo de Angelis, 2018).

New York University Abramson Family Auditorium
On November 19 at 6:30pm is a program of three documentary short films from Mexico: Tita, The Weaver of Roots (Monica Morales, 2019); Nendoc Between Lagoons (Juan Ernesto Regalado, 2019) followed by discussion with the filmmaker; and Chacahuita (Juana Reyes Díaz, 2016). Part of the "Films Across Borders: Stories of Water" series.

Library of Congress
The Mary Pickford Theater at the Library of Congress continues its series of films showcasing the Library's collection and including newly preserved films. On November 7 at 7:00pm is Smoke Signals (Chris Eyre, 1998), the first feature-length film directed, written and produced by Native Americans. On November 21 at 7:00pm is Make Way for Tomorrow (Leo McCarey, 1937) which was inspiration for Yasujiro Ozu's Tokyo Story.

Anacostia Community Museum
On November 7 at 11:00am is Washington in the 2000's, the latest in the series from WETA TV about the history and culture of Greater Washington. The film's producer, Seth Tillman, will discuss the film after the screening.

On November 8 at 10:30am is Priced Out, a documentary about the complexities and contradictions of gentrification. A discussion follows with Matt Birkold.

On November 9 at 2:00pm is Off The Straight and Narrow (Katherine E. Sender, 1999), a documentary about the transformation in gay representation, from invisibility before 1970 to the "gay chic" of today. A discussion follows the film.

On November 14 at 10:30pm is Warrior Women, a documentary about civic activism in the American Indian Movement. A discussion and Q&A follows.

On November 20 at 11:00am is The Divide: What Happens When The Rich Get Richer, a documentary about wealth inequality as seen through the stories of seven individuals. A discussion follows.

"Capital Classics" at Landmark's West End Cinema
Classic films are shown at the West End Cinema on Wednesdays at 1:30pm, 4:30pm and 7:30pm. On November 6 is Death in Venice (Luchino Visconti, 1971) starring Dirk Bogarde; on November 13 The Polar Express (Robert Zemeckis, 2004); more TBA.

Kennedy Center
On November 29 at 7:00pm and November 30 at 7:00pm is Harry Potter and the Order of the Phoenix (David Yates, 2007). Nicholas Hooper's score is played live by the National Symphony Orchestra conducted by Steven Reineke.

Embassy of Austria
On November 13 at 7:00pm is the silent film City Without Jews (Hans Karl Breslauer, 1924), based on the satiric novel by Hugo Bettauer. The screening is followed by a panel discussion.

Atlas Performing Arts Film Series
On November 3 at 4:00pm is The Lodger: A Story of the London Fog (Alfred Hitchcock, 1927), with live musical accompaniment by Andrew Simpson.

On November 19 at 7:00pm is the documentary Detroit 48202: Conversations Along a Postal Route (Pamela Sporn, 2018), a look at Detroit neighborhoods through the view of mail carrier Wendell Watkins. Filmmaker Pamela Sporn will be present for discussion.

Alden Theater
On November 13 at 12:30pm is a kids film Cars (2006) and on November 27 at 1:00pm is Babette's Feast (Gabriel Axel, 1987).

Busboys and Poets
On November 13 at 6:30pm is Knock Down the House (Rachel Lears, 2019), a documentary about the primary campaigns of four progressive Democrats. A discussion follows. At the Hyattsville location.

Alliance Francais
The Alliance hosts some films in the "Seven Women" film series.

George Mason University
On November 12 at 4:30pm is the documentary Naila and the Uprising (Julia Bacha, 2017), about non-violent women involved in Palestine's struggle for freedom. Followed by a discussion with the filmmaker. Part of the "Meet the Filmmakers" series. Free and open to the public.

FILM FESTIVALS

Current Movements Film Festival
Documentaries and panel discussions (November 4-8) highlight social change. A few titles The Last Guardians; Suppressed: The Right to Vote; Owned, You Come From Far Away; The Unafraid; Major and more. Location: Eaton Hotel. See the website for ticket information.

Gala Hispanic Theater Film Festival
The 8th annual film festival "Reel Time at Gala" (November 20-24) is a series of films from Mexico, Bolivia and Brazil. Titles are The River (Juan Pablo Richter, 2018) from Bolivia; Socrates (Alexandre Moratto, 2018) from Brazil; Cinderelo (Beto Gomez, 2019) from Mexico; Still Burn (Mauricio Alfredo Ovando, 2018) from Bolivia; The Two Irenes (Fabio Meira, 2017) from Brazil; The King of the Neighborhood (Gilberto Martinez Solares, 1949) from Mexico; and Wind Traces (Jimena Montemayor Lobo, 2017) from Mexico. Most films are followed by discussion with actors or directors, and a reception. A festival pass is available.

Films Across Borders: Stories of Water
This festival starts October 1 and runs through November 26. More than 30 films are shown in more than 12 venues. Titles in November include Mad Max: Fury Road (2015); High Tide in Dorchester (2018); Oceans, the Mystery of the Missing Plastic (2016); Water Rising (2015); Draw Me a River, and more. See the website for locations and details.

Seven Women Film Festival
A number of venues participate in this festival of seven films by women. The series is inspired by Cahiers’s special issue Une histoire des réalisatrices, an alternative history of 20thcentury film through movies by women. On November 11, at 3:00pm is Agnès Varda's first film La pointe courte (1954) shown at the National Gallery of Art's West Building Lecture Hall. On November 12 at 7:00pm is Détruire, dit-elle (Marguerite Duras, 1969) shown at the Alliance Française (NO subtitles). On November 13 at 8:00pm is De l’autre côté (Chantal Akerman, 2002) shown at the Avalon Theater with a Q&A by festival programmer Nicholas Elliott. On November 14 at 7:00pm is 35 rhums (Claire Denis, 2008) shown at the AFI Silver Theater. On November 15 at 7:00pm is La nuit porte-jarretelles (Virginie Thevenet, 1985) (NO subtitles) shown at the Alliance Française. On November 16 at 3:00pmis Fad, Jal (Safi Faye, 1979) from Senegal, shown at the Kennedy Center. The festival ends with Paul Sanchez est revenu! (Patricia Mazuy, 2018) shown at the French Embassy on November 18 at 7:00pm with the filmmaker present for Q&A. Note that most films have an introduction by one of the programmers and two have no subtitles.

The 19th Annual Northern Virginia International Jewish Film Festival
The 18th annual Northern Virginia Jewish Film Festival (November 7-17) will screen contemporary Jewish-themed and/or Israeli-made feature films that explore identity and place in the world. Films are shown at Angelika's Mosaic Theater in Fairfax, Cinema Arts Theater in Fairfax and others. The Opening Night film is Back to Maracana (Jorge Gurvich) from Brazil. The Closing Night film is The Mamboniks (Alexis Gillespie). Other titles include Between Worlds from Israel; Love in Suspenders from Israel; Leona from Mexico; Sustainable Nation from Israel; Prosecuting Evil: The Extraordinary World of Ben Ferencz; Box for Life from Israel; The Light of Hope from Spain; The Keeper from the UK; The Unorthodox from Israel; Golda's Balcony; The Tobacconist from Germany; My Polish Honeymoon from France; Hava Nagila; Picture of His Life; Stockholm from Israel; plus short films. See the website for the schedules, titles, tickets, passes, special guests, events and discussions.

Film|Neu
The 27th edition of Film|Neu, contemporary films from Germany, Austria and Switzerland, takes place November 14-17 at Landmark's E Street Cinema. The Opening Night film is the award-winning All About Me (Catherine Link, 2018). Following the screening is a discussion with screenwriter Ruth Toma and a reception. The Closing Night film is Gundermann (Andreas Dresen, 2018), preceded by a reception at 6:15pm and followed by a discussion with cinematographer Andreas Hofer. Other titles are 25 KM/H (Markus Goller, 2018); Zwingly (Stefan Haupt, 2019) from Switzerland; Berlin Bouncer (David Dietl, 2019); Happiness Sucks (Anca Miruna Lazarescu, 2018); The Miracle Method (Michael Kreihal, 2018) from Austria; a program of short films and a roundtable discussion. Most films have won awards at various film festivals.

Rehoboth Beach Independent Film Festival
This film festival is celebrating its 22nd year and runs from October 31-November 10. American and international films will be shown, including features, documentaries and shorts. A few titles: Light from Light, Aga, House of Hummingbird, The Other Story, Go Back to China, Sibel, The Infiltrators, Standing Up, Falling Down and Raise Hell: The Life and Times of Molly Ivins. See the website for locations, titles, schedule, tickets and passes.

Alexandria Film Festival
The 12th Annual Alexandria Film Festival will be held November 7-10, presenting feature-length films, documentaries, animation and short films. Films are shown at AMC's Hoffman 22 and the Beatley Library. Some titles: Barbarian Utopia: Encounters on the Appalachian Trail, Team Marco, My Beautiful Stutter, One Summer Night, My Father's Brothers, Who Killed Lt. Van Dorn?, Fruits of Peace, The Spy Behind Home Plate, Wake, This Changes Everything and lots more. See the website for films, locations, and tickets.

DC Chinese Film Festival
DCCF (November 7-10) presents "On Both Sides of the Camera," with female filmmakers on addressing women's role in society and issues of gender from Taiwan, Hong Kong, China (mainland) and Chinese-American. Locations: Freer Gallery of Art, Landmark's E Street Cinema and West End. Titles are A Touch of Zen, Send Me to the Clouds, Woman Demon Human, Saving Face, A First Farewell, I Am Another You, Lust Caution, Siao Yu and Long Live the Missus. See the website for tickets and more information.

Utopia Film Festival
The 15th annual Utopia Film Festival takes place November 16-18 in Greenbelt, Maryland. The festival seeks documentaries, features, shorts and animation which creatively explore issues challenging humanity's quest for a better world. A few titles: Dr. C; From Seed to Seed; Found in Korea; Overload-America's Toxic Love Story; Tales of Belair at Bowie; Unarmed Man; Victory Swim and lots more. Locations are the Greenbelt Arts Center and the Greenbelt Theater. See the website for more information.