Slant Magazine
sits down with Catherine Breillat.
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This year's Human Rights Watch fest is, in part, a celebration of Ariel Dorfman's lifework.
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<img src="/images/features/newdirectors/ndnf_07_2.gif" align="left" hspace="5" width="30" height="30" border="0" alt="L"><div id="body_text"><div class="body_text" align="justify" style="padding-right: 0.5ex">ast year was something of an unprecedented success for the annual New Directors/New Films program: more than half of the films secured U.S. distribution, one (<a href="/film/film_review.asp?ID=2133"><i>Old Joy</i></a>) was among 2006's best-reviewed films, and two (<a href="/film/film_review.asp?ID=2117"><i>Half Nelson</i></a> and <a href="/film/film_review.asp?ID=2142"><i>My Country My Country</i></a>) went on to receive Oscar validation. Only time will tell if the 36th incarnation of the series, another joint presentation by The Film Society of Lincoln Center and The Museum of Modern Art, will be up to snuff, but early signs are promising. <br><br> Per usual, a considerable amount of this year's selections are carryovers from Toronto and Park City. Among them are: <i>War Dance</i>, Sean Fine and Andrea Nix's documentary about children living in Ugandan displacement camps; Christopher Zalla's <i>Padre Nuestro</i>, winner of this year's Sundance Grand Jury prize; Peter Schønau Fog's incest dramedy <i>The Art of Crying</i>; and Jean-Pascal Hattu's <i>7 Years</i>, about a woman's unusual love affair between her incarcerated husband and a prison guard.<br><br> An early highlight of the fest is <i>Glue</i>. The film is no landmark, but there's a striking candor to Alexis Dos Santos's artful doodle about a boy and his seething hormones in Argentina's dreary Patagonia region that recalls some of the seminal works of the New Queer Cinema movement. For a complete schedule of films, screening times and ticket information, please see the festival's <a href="http://www.filmlinc.com/ndnf/ndnf.html">official site</a>. (Reviews will be posted daily.) <br><br></div></div>
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