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 Beau's Spirited Shenanigans 
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Trip wrote:
Never played multiplayer as rich as Perfect Dark's before or since. It never got old. Loved the campaigns too. Top 10 game ever for me.


Yeah, this. The main campaign was entertaining, although it's pretty basic and even archaic compared to the First Person Shooters being released at the time on PC: System Shock 2, Thief 2, and Deus Ex (especially Deus Ex, which resembles Perfect Dark in story and setting). However, Perfect Dark had tons of stuff to do, the whole Carrington Institute open to explore, little mini-games like the shooting range, and, of course, the Combat Simulator, with a bunch of tough challenges to complete and hours upon hours of multiplayer fun. In fact, the Combat Simulator doubled as the game's real single player quest, offering you the possibility to tinker and edit encounter parameters to your heart's content and, match by match, improve your character's ranking (there was an Elite-style in-game ranking system, and getting to the highest level is something I never got close to accomplishing). The addition of computer-controlled "bots" meant several things: you could compete against the AIs and, if you had a friend, you didn't have to fight against him but could team up with him to take on the AIs, the hardest of which were ruthless. You could make it very, very hard on yourself if you wanted to and were so skilled. Great stuff, great value. I have no idea how many hours I clocked on that.


Wed Nov 13, 2013 11:17 am
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Fist wrote:
Mario 64 is surpassed by the Galaxy games and a number of the SNES games. Still there's something wonderfully magical about that game. Probably mostly fueled by nostalgia of course, but yeah. I'm a Banjo-Kazooie guy through and through.

World > 64 > SMB = SMB3 > SMSunshine > American SM2

The first 4 are all classic, Sunshine wasn't great, but still good, and SM2 is the only I don't really like at all (yes, I'm aware that it didn't end up being a "real" Mario title). Never got a chance to play the Galaxys because the "different" controllers of the Wii turned me off from buying one. Still need to find me a download of the original Japanese SM2 somewhere too, not just the updated All-Stars version.

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Wed Nov 13, 2013 11:18 am
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roujin wrote:
i never bought the cartridge pack or whatever that I needed to play perfect dark :(


Yeah. You could actually play parts of Perfect Dark without the Expansion Pak, I believe, but not very much.


Wed Nov 13, 2013 11:20 am
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SMB2 Japan might be my favorite of the 2D games just because it's the most difficult. I'm actually not that fond of Mario 3 and World's map screens, so that's a plus for 1 and both versions of 2.

I think I've said my piece before on Ocarina of Time...


Wed Nov 13, 2013 11:25 am
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The Carrington Institute was so barren and spacious and with the music somehow evoked a melancholy for me :D
I mean, a lot of games conjure such feelings, loneliness for depopulation, out of the necessity of having fewer NPCs to avoid lagging, but that one stuck with me.

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Wed Nov 13, 2013 11:25 am
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Rasaokis wrote:
SMB2 Japan might be my favorite of the 2D games just because it's the most difficult. I'm actually not that fond of Mario 3 and World's map screens, so that's a plus for 1 and both versions of 2.

I think I've said my piece before on Ocarina of Time...


I love the map screens in Mario 3 and World. The way Mario 3 makes the map screen into an interactive space of its own, with enemies and multiple pathways, is like an early deconstruction of map screens in the game that made them popular to begin with! Pretty weird how the Mario 3 maps are more advanced than those of all the platformers that imitated it later. To this day, even.

Of course, I also continue to love Ocarina of Time, so I suppose we'll never agree on anything videogame-related.


Wed Nov 13, 2013 11:36 am
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Beau wrote:

I love the map screens in Mario 3 and World. The way Mario 3 makes the map screen into an interactive space of its own, with enemies and multiple pathways, is like an early deconstruction of map screens in the game that made them popular to begin with! Pretty weird how the Mario 3 maps are more advanced than those of all the platformers that imitated it later. To this day, even.


Actually, I think my problem with World has less to do with the map itself and more with the way the game handles secrets: you get halfway through a level, grab the key, and then the game forces you out of the level. This is somewhat tolerable the first time you play the game, but on subsequent playthroughs it just slows the game down considerably. I prefer the way the Donkey Kong Country games and Yoshi's Island handled secrets. You can complete a level and get every secret in it all in one go.



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Of course, I also continue to love Ocarina of Time, so I suppose we'll never agree on anything videogame-related.


We'll always have Body Harvest.


Wed Nov 13, 2013 12:05 pm
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Beau wrote:
It was the galactic conquest, wasn't it.
Of course. :P

I love your mother for truly listening to an 11-year-old's enthusiasm on the way home from school. :heart:

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Wed Nov 13, 2013 2:41 pm
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Justin Bieber sweeping the floor with either the Argentine flag or an Argentine soccer jersey. A couple of questions:

1) Did he not know he was scrubbing the stage with the national symbol of the country he was performing in?

2) If he was concerned about the health hazard posed by unidentified rags on the platform he was strutting on, might it not have been easier to simply pick them up and give them back to his audience? Surely that protracted sweeping motion was entirely too cumbersome?

3) Are his Argentine teenage fans jeering, clapping, cheering, or just screaming? Do they know? Does Justin Bieber know? The girl who presumably filmed the video is at least certain of one thing: "Nah, this guy's an asshole!"


Fri Nov 15, 2013 1:42 am
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impose martial law and ask for bieber to be extradited back to argentina to face a kangaroo criminal court and put him away for life

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Sat Nov 16, 2013 8:44 pm
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B-Side wrote:
impose martial law and ask for bieber to be extradited back to argentina to face a kangaroo criminal court and put him away for life


Seriously.


Mon Nov 18, 2013 1:13 am
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Is it true that you're supposed to show up an hour late for a dinner party in Argentina or you're considered greedy?

Serious question.

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Mon Nov 18, 2013 2:09 am
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B-Side wrote:
Is it true that you're supposed to show up an hour late for a dinner party in Argentina or you're considered greedy?

Serious question.


Greedy? No, you won't be considered greedy. But you will feel very lonely. Because you're the only one there.

It depends on what kind of dinner party you're talking about, though. If you're meeting at a restaurant, most people are going to get there on time simply because you have to be there at the specified hour in order to claim the table you've reserved. If you're meeting at someone's house, then, yeah, there's more leeway. If you're the one planning the get-together, you typically plan in advance of this habitual tardiness, tell people to get there at 8 and expect to receive them at 9. At any rate, this cultural trait bailed me out during my last birthday, because I finished cleaning up the house an hour after my party was supposed to start, at which point people actually began arriving.


Mon Nov 18, 2013 5:47 am
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I call it "Argentine time", and I love it because I am always anxious about being early but when I go hang out with my Argentines, I can not be anxious.

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Mon Nov 18, 2013 6:24 am
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Beau wrote:
Greedy? No, you won't be considered greedy. But you will feel very lonely. Because you're the only one there.

It depends on what kind of dinner party you're talking about, though. If you're meeting at a restaurant, most people are going to get there on time simply because you have to be there at the specified hour in order to claim the table you've reserved. If you're meeting at someone's house, then, yeah, there's more leeway. If you're the one planning the get-together, you typically plan in advance of this habitual tardiness, tell people to get there at 8 and expect to receive them at 9. At any rate, this cultural trait bailed me out during my last birthday, because I finished cleaning up the house an hour after my party was supposed to start, at which point people actually began arriving.


That damn YouTube video was misleading about your particular experience in Argentina!

But seriously, I was wrestling with the logistics of it last night. When you know nobody's actually gonna show up on time for a personal party, do you give them a deliberately early time, assuming nobody will actually show up until the "real" time? What about food? How do you wrestle with varying time frames when looking to have your food fresh for all guests when they arrive? Someone showing up only 45 minutes late will surely get fresher food than the person showing up an hour and 15 minutes late. It's like setting an alarm early; if you know it's set early, then what's the point?

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Mon Nov 18, 2013 9:41 pm
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B-Side wrote:

That damn YouTube video was misleading about your particular experience in Argentina!

But seriously, I was wrestling with the logistics of it last night. When you know nobody's actually gonna show up on time for a personal party, do you give them a deliberately early time, assuming nobody will actually show up until the "real" time? What about food? How do you wrestle with varying time frames when looking to have your food fresh for all guests when they arrive? Someone showing up only 45 minutes late will surely get fresher food than the person showing up an hour and 15 minutes late. It's like setting an alarm early; if you know it's set early, then what's the point?


I have no idea what you're talking about. If you're getting together with friends, you call delivery once everyone's there. There's also such a thing as a "picada," with chips, cheese, pepperoni, toasted bread, spread, different ham varieties, etc, but none of that becomes less fresh after an hour or two. Of course, there might be less of it after a while, but that's the way it rolls. If you get to a party two hours late, you should not expect to have a lot left to eat. If you're the host, you set down the food and people eat it as they arrive. A "picada" is only a starter, though, so it's not like the first two or three guests will devour everything in five minutes.

Now, if you're thinking about more adult dinner parties, in which the host is actually cooking something, okay, yeah, guests would get there more or less on time. Nevertheless, if you're the host, you won't have the food ready exactly at the appointed hour, and you would probably shoot for an hour or half an hour after that. If the guests get there on time, they can sit down and chat with your husband, wife, or significant other while you're in the kitchen.

As for setting the time, you deliberately set an early time. People know it's an early time, so they arrive later, but they can arrive on time, if they so choose. So, you should expect most people to arrive late, but you should not expect everyone to arrive late. This sounds very complicated, but it's not. You just do the above. At any rate, the party is going to last four, five, or six hours, and it'll continue until two in the morning or later, so the first hour or two are just throat-clearing.

If you need everyone to arrive on time, you just say so and people do so, especially if they have to work the next day. You would typically do a party on Friday or Saturday, though, so it can last longer.


Mon Nov 18, 2013 11:15 pm
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why are we discussing this seriously

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Mon Nov 18, 2013 11:17 pm
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B-Side wrote:
why are we discussing this seriously


I have no idea. You took an interest in Argentine dinner party customs and I replied. You also referenced some mysterious YouTube video.


Mon Nov 18, 2013 11:22 pm
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Beau wrote:
I have no idea. You took an interest in Argentine dinner party customs and I replied. You also referenced some mysterious YouTube video.




It was amusing. Sparked my interest and made me wanna pull a Larry David on the logic behind it all.

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Mon Nov 18, 2013 11:53 pm
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Looks interesting, but they dropped the ball so badly with Argentina that I sincerely doubt every other point. I mean, greed? What the hell?


Tue Nov 19, 2013 3:34 am
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Yeah, I don't know. You have to take these kinds of things with a grain of salt, even simply given the array of social statuses and cliques. It's not clear this is something many people experience, or if it's an older phenomenon that hasn't carried over, or what, exactly.

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Tue Nov 19, 2013 8:17 pm
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B-Side wrote:
Yeah, I don't know. You have to take these kinds of things with a grain of salt, even simply given the array of social statuses and cliques. It's not clear this is something many people experience, or if it's an older phenomenon that hasn't carried over, or what, exactly.


I'll ask around. Maybe there's something I don't know!


Sat Nov 23, 2013 2:10 am
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Beau wrote:
I'll ask around. Maybe there's something I don't know!


It's the language barrier. If you guys would just speak English, we wouldn't be in this mess.

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Sat Nov 23, 2013 6:43 pm
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I asked around. A more precise word would be "gluttony" rather than "greed," since "gluttony" is more directly related to food. Which would make more sense, given the context of a "dinner party." However, even then, it doesn't make much sense. It's not common to be punctual in Argentina, no, especially if the situation allows for it (that is, if you haven't made a reservation at a restaurant or something like that), but you won't be considered a "glutton" if you're on time. You might be considered "annoying." Maybe. And you'll be bored. But that's it.

CASE CLOSED. CONVERSATION OVER. BRIGHTSIDE DIDN'T CARE ANYMORE ANYWAYS.


Thu Dec 12, 2013 1:46 am
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how i came to love computer games + pc master race + finish thread with das already beau + personal anecdotes + bubbly guy talking about multimedia in ninety two lol


Thu Dec 12, 2013 1:51 am
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Beau wrote:
I asked around. A more precise word would be "gluttony" rather than "greed," since "gluttony" is more directly related to food. Which would make more sense, given the context of a "dinner party." However, even then, it doesn't make much sense. It's not common to be punctual in Argentina, no, especially if the situation allows for it (that is, if you haven't made a reservation at a restaurant or something like that), but you won't be considered a "glutton" if you're on time. You might be considered "annoying." Maybe. And you'll be bored. But that's it.

CASE CLOSED. CONVERSATION OVER. BRIGHTSIDE DIDN'T CARE ANYMORE ANYWAYS.


Interesting. Thanks for looking into it. Kind of a fun thing to know.

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Thu Dec 12, 2013 3:53 pm
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B-Side wrote:

Interesting. Thanks for looking into it. Kind of a fun thing to know.


Don't worry, though. I'll never invite you to a dinner party.


Thu Dec 12, 2013 9:30 pm
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Beau wrote:
Don't worry, though. I'll never invite you to a dinner party.


If you did, I'd show up ON TIME. :shock:

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Thu Dec 12, 2013 10:08 pm
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B-Side wrote:

If you did, I'd show up ON TIME. :shock:


Christ, you're so annoying.


Thu Dec 12, 2013 10:17 pm
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You love it.

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Thu Dec 12, 2013 11:11 pm
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will you two shut up

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Thu Dec 12, 2013 11:32 pm
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Izzy Black wrote:
will you two shut up


We're having a stimulating conversation about cultural differences.

Also, you're late.


Fri Dec 13, 2013 3:16 am
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We already had the make-up sex, Izzy.

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Fri Dec 13, 2013 9:46 pm
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Image

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...end is never the end is never the end is never the end is never the...


Wed Dec 18, 2013 1:35 am
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Intriguing.

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Wed Dec 18, 2013 3:49 am
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the hobbit thus far, odious comparisons to source novel, what has changed, what has not, legolas is such an asshole in this


Mon Dec 30, 2013 7:24 am
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As I wrote on Facebook...

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For the past number of months, I've been finding writers and editing articles for this website, which is part of Language Trainers, a company that offers language courses. The website, then, offers movie, book, and song reviews of works written or spoken in the various languages offered by Language Trainers. It's aimed at English-speakers, however, so even though the articles talk about works in other languages, all are written in English. The project is finished, at least for the time being, and I am no longer attached to it, but I will be publishing everything that emerged from it, and sharing whatever I wrote myself through here. (I was the editor, but I was not the only writer involved. We had about 50 reviewers on board. I expect all texts to be uploaded to the website two weeks from now, but for the time being, I offer it to the world in its current form.) To start with, I'm sharing my short write-up of Welcome Mr. Marshall, a classic of Spanish cinema.


Thu Feb 20, 2014 6:55 am
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Quote:
As a teenager, I felt I would never age. Yet I also knew I would, and more than that, I could anticipate that when I did, everything would change. So I stood then, with confused ideas about time. The future would never arrive, yet it was also imminent. Now, my teenage years were horribly boring and sexless, so I was certainly looking forward to some sort of revolution. It was only a matter of emerging out the far side of high school, into the end of the world as I knew it. Life is a succession of points of no return, and if we find apocalyptic stories about crashing asteroids and alien invasions so absorbing, it might be because they exaggerate this fact. Popular fiction brims with characters who undergo processes of self-discovery while everything around them burns, from The Lord of the Rings to Akira. Watershed moments can be as monumental as they can be personal and private, and though graduating high school or parting with your family are not exactly comparable to a tidal wave, such commonplace events can inspire fear and trembling regardless.

Gone Home is a coming-of-age tale, with a poignant twist to the heteronormative formula: Kaitlin, the protagonist – or playable character – is already an adult and is uncovering another person’s narrative; and it is this other person, the protagonist’s seventeen-year-old sister, Samantha, who actually comes of age, as she discovers she’s a lesbian. On top of all the awful pressures of adolescence, she must put aside the conventional trajectory of coming-of-age plots – which often deposit formerly adolescent figures at the doorstep of social acceptability – and learn to embrace her sexuality, even when doing so will be deemed immature and childish by others, especially her parents, who were hoping for her to grow up into a “normal” girl.



Thu Feb 20, 2014 7:02 am
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<3 u r the best

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Everything around me is evaporating. My whole life, my memories, my imagination and its contents, my personality - it's all evaporating. I continuously feel that I was someone else, that I felt something else, that I thought something else. What I'm attending here is a show with another set. And the show I'm attending is myself. Fernando Pessoa

Live. Laugh. Love. - Freddy Krueger


Thu Feb 20, 2014 8:33 am
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Like every year, it's BAFICI recommendation time! You'll find the whole program within the spoiler tags. When you open the spoiler tags, the list of films will unfurl like the biggest cinephilic erection you've ever seen.

PELICULA DE APERTURA
-The Congress, de Ari Folman (Israel / Alemania / Polonia / Luxemburgo / Bélgica)

PELICULA DE CLAUSURA
-The Second Game, de Corneliu Porumboiu (Rumania)
COMPETENCIA INTERNACIONAL
Jurados: Eduardo Antin (Quintín), Serge Bozon, Nadav Lapid, Ilda Santiago, David Zellner.

Algunas chicas, de Santiago Palavecino (Argentina)
La Salada, de Juan Martín Hsu (Argentina)
Mauro, de Hernán Rosselli (Argentina)
Ice Poison, de Midi Z (Birmania / Taiwán)
Castanha, de Davi Pretto (Brasil)
Sarah préfère la course, de Chloé Robichaud (Canadá)
Naomi Campbel - No es fácil convertirse en otra persona, de Nicolás Videla y Camila Donoso (Chile)
Volantín cortao, de Diego Ayala y Aníbal Jofré (Chile)
Carlitos, de José Antonio Guayasamín (Ecuador)
El futuro, de Luis López Carrasco (España)
Fifi Howls from Happiness, de Mitra Farahani (Estados Unidos / Francia)
The Wait, de M. Blash (Estados Unidos)
Grand Central, de Rebecca Zlotowski (Francia / Austria)
Iranian, de Mehran Tamadon (Francia / Suiza)
Un château en Italie, de Valeria Bruni Tedeschi (Francia)
El mudo, de Daniel Vega y Diego Vega (Perú / México / Francia)
20,000 Days on Earth, de Iain Forsyth y Jane Pollard (Reino Unido)
Mary Is Happy, Mary Is Happy, de Nawapol Thamrongrattanarit (Tailandia)

COMPETENCIA ARGENTINA
Jurados: Ignacio Agüero, Cao Guimarães, Paolo Moretti, Martin Pawley, Alesia Weston.

13 puertas, de David Rubio (Argentina / Ecuador)
Atlántida, de Inés María Barrionuevo (Argentina)
Carta a un padre, de Edgardo Cozarinsky (Argentina / Francia)
Ciencias naturales, de Matías Lucchesi (Argentina)
El escarabajo de oro, de Alejo Moguillansky y Fia-Stina Sandlund (Argentina / Suecia / Dinamarca)
Historia del miedo, de Benjamín Naishtat (Argentina / Uruguay / Francia / Alemania / Qatar)
Juana a los 12, de Martín Shanly (Argentina / Austria)
Mientras estoy cantando, de Julián Montero Ciancio (Argentina)
Necrofobia en 3D, de Daniel de la Vega (Argentina)
Réimon, de Rodrigo Moreno (Argentina)
El rostro, de Gustavo Fontán (Argentina)
Si je suis perdu, c'est pas grave, de Santiago Loza (Argentina)
Tres D, de Rosendo Ruiz (Argentina)
El último verano, de Leandro Naranjo (Argentina)
Una canción coreana, de Gustavo Tarrío y Yael Tujsnaider (Argentina)

VANGUARDIA Y GÉNERO
Jurados: Claudio Caldini, Michaela Grill, Marialy Rivas.

Living Stars, de Gastón Duprat y Mariano Cohn (Argentina)
Creme 21, de Eve Heller (Austria / Estados Unidos)
Trespass, de Paul Wenninger (Austria)
The Joycean Society, de Dora García (Bélgica)
São Silvestre, de Lina Chamie (Brasil)
La última película, de Raya Martin y Mark Peranson (Canadá / México / Filipinas / Dinamarca)
La isla, de Dominga Sotomayor y Katarzyna Klimkiewicz (Chile / Polonia)
Costa da Morte, de Lois Patiño (España)
Gente en sitios, de Juan Cavestany (España)
G/R/E/A/S/E, de Antoni Pinent (España / Suiza / Alemania)
A Million Miles Away, de Jennifer Reeder (Estados Unidos)
Coherence, de James Ward Byrkit (Estados Unidos)
Manakamana, de Stephanie Spray y Pacho Velez (Estados Unidos / Nepal)
The Sacrament, de Ti West (Estados Unidos)
Sequence, de Carles Torrens (Estados Unidos / España)
Upstream Color, de Shane Carruth (Estados Unidos)
Chigger Ale, de Fanta Ananas (Etiopía / España)
Alan Vega, Just a Million Dreams, de Marie Losier (Francia / Estados Unidos)
La Fille du 14 juillet, de Antonin Peretjatko (Francia)
Journey to the West, de Tsai Ming Liang (Francia / Taiwán)
Tonight and the People, de Neïl Beloufa (Francia)
Wrong Cops, de Quentin Dupieux (Francia)
Big Bad Wolves, de Navot Papushado (Israel)
Fernando que ganhou um pássaro do mar, de Felipe Bragança (Portugal / Brasil)
Redemption, de Miguel Gomes (Portugal / Francia / Alemania / Italia)
It for Others, de Duncan Campbell (Reino Unido)
iNumber Number, de Donovan Marsh (Sudáfrica)

SELECCIÓN OFICIAL - FUERA DE COMPETENCIA
La ballena va llena, de Daniel Santoro, Juan Carlos Capurro, Pedro Roth, Tata Cedrón y Marcelo Céspedes (Argentina)
Burroughs: The Movie, de Howard Brookner (Estados Unidos)
El color que cayó del cielo, de Sergio Wolf (Argentina)
Cosano: La vida secreta de un vestido, de Diego Levy y Pablo Levy (Argentina)
Double Play: James Benning and Richard Linklater, de Gabe Klinger (Francia / Portugal / Estados Unidos)
Kumiko, the Treasure Hunter, de David Zellner (Estados Unidos)
Tip Top, de Serge Bozon (Francia)
Veronica Mars, de Rob Thomas (Estados Unidos)

BAFICITO
Ma maman est en Amérique, elle a rencontré Buffalo Bill, de Marc Boréal y Thibaut Chatel (Francia / Luxemburgo)
O menino e o mundo, de Alê Abreu (Brasil)
Minúsculos, de Hélène Giraud y Thomas Szabo (Francia)
Oggy et les cafards, de Olivier Jean-Marie (Francia)
Pororo: The Racing Adventure, de Young-kyun Park (Corea del Sur)
Tante Hilda!, de Jacques-Rémy Girerd y Benoît Chieux (Francia)
La tropa de trapo en el país donde siempre brilla el sol, de Alex Colls (España)
La tropa de trapo en la selva del arcoíris, de Alex Colls (España / Portugal / Brasil)

BAFICITO - FUNCIONES ESPECIALES
Muppets 2: Los más buscados, de James Bobin (Estados Unidos)
Rio 2, de Carlos Saldanha (Estados Unidos)

BAFICITO - RETRO UPA
Christopher Crumpet's Playmate, de Robert Cannon (Estados Unidos)
The Jaywalker, de Robert Cannon (Estados Unidos)
Ragtime Bear, de John Hubley (Estados Unidos)
The Tell-Tale Heart, de Ted Parmelee (Estados Unidos)
Gerald McBoing Boing, de Robert Cannon (Estados Unidos)
Magoo Express, de Pete Burness (Estados Unidos)
Rooty Toot Toot, de John Hubley (Estados Unidos)
The Unicorn in the Garden, de William T. Hurtz (Estados Unidos)
Robin Hoodlum, de John Hubley (Estados Unidos)
How Now Boing Boing, de Robert Cannon (Estados Unidos)
Baby Boogie, de Paul Julian (Estados Unidos)
The Magic Fluke, de John Hubley (Estados Unidos)
Willie the Kid, de Robert Cannon (Estados Unidos)
Gerald McBoing! Boing! on Planet Moo, de Robert Cannon (Estados Unidos)
Trouble Indemnity, de Pete Burness y John Hubley (Estados Unidos)
Barefaced Flatfoot, de John Hubley (Estados Unidos)
Fuddy Duddy Buddy, de John Hubley (Estados Unidos)
Pink and Blue Blues, de Pete Burness (Estados Unidos)
Magoo's Moose Hunt, de Robert Cannon (Estados Unidos)
Terror Faces Magoo, de Jack Goodford y Chris Ishii (Estados Unidos)
Magoo’s Puddle Jumper, de Pete Burness (Estados Unidos)
When Magoo Flew, de Pete Burness (Estados Unidos)
Mister Magoo: Las mil y una noches, de Jack Kinney (Estados Unidos)
Alternative X
Bella Gaia
La niña que sabía caminar al revés
Pal o' Me Heart
To Space and Back
Voices in the Dark

PANORAMA
3X3D, de Edgar Pêra, Peter Greenaway y Jean-Luc Godard (Portugal)
10% - What Makes a Hero?, de Yoav Shamir (Israel)
A Story of Children and Film, de Mark Cousins (Reino Unido)
Afternoon Delight, de Jill Soloway (Estados Unidos)
Aimer, boire et chanter, de Alain Resnais (Francia)
The Airstrip, de Heinz Emigholz (Alemania)
Al fin del mundo, de Franca González (Argentina)
Amancio Williams, de Gerardo Panero (Argentina)
Anagramas, de Santiago Giralt (Argentina)
Anuncian sismos, de Rocío Caliri y Melina Marcow (Argentina)
Apolitical Romance, de Hsieh Chun-yi (Taiwán)
Ariel, de Laura Bari (Canadá)
Asier y yo, de Amaia Merino y Aitor Merino (España / Ecuador)
Atlas, de Antoine d'Agata (Francia)
Before the Revolution, de Dan Shadur (Israel)
Cae la noche en Bucarest, de Corneliu Porumboiu (Rumania)
Casa grande, de Fellipe Barbosa (Brasil)
Cheatin', de Bill Plympton (Estados Unidos)
Los colonos del Caudillo, de Dietmar Post y Lucía Palacios (Alemania / España)
Coming to Terms, de Jon Jost (Estados Unidos)
Comment j’ai détesté les maths, de Olivier Peyon (Francia)
La Confrérie des larmes, de Jean-Baptiste Andrea (Bélgica / Francia / Luxemburgo)
El copamiento 10-08-74, de Mauro Pérez y Mariana Britos (Argentina)
El corral y el viento, de Miguel Hilari (Bolivia)
El cuarto desnudo, de Nuria Ibáñez (México)
Cupcakes, de Eytan Fox (Israel)
Dear Mr. Watterson, de Joel Allen Schroeder (Estados Unidos)
Depois da chuva, de Cláudio Marques y Marília Hughes (Brasil)
Le Dernier des injustes, de Claude Lanzmann (Francia / Austria)
El diálogo, de Pablo Racioppi y Carolina Azzi (Argentina)
Do You Believe in Love?, de Dan Wasserman (Israel)
Educação sentimental, de Júlio Bressane (Brasil)
Entre Ríos - todo lo que no dijimos -, de Nelson Schmunk (Argentina)
Escuela de sordos, de Ada Frontini (Argentina)
The Family, de Stefan Weinert (Alemania)
Fantasmas de la ruta, de José Celestino Campusano (Argentina)
Gare du Nord, de Claire Simon (Francia / Canadá)
Géographie humaine, de Claire Simon (Francia)
La gran noticia, de Lionel Baier (Suiza / Francia / Portugal)
Han Gong-Ju, de Lee Su-Jin (Corea del Sur)
Holy Field Holy War, de Lech Kowalski (Francia / Polonia)
How to Disappear Completely, de Raya Martin (Filipinas)
I’m an Old Communist Hag, de Stere Gulea (Rumania)
Ida, de Pawel Pawlikowski (Polonia / Dinamarca)
Ignasi M., de Ventura Pons (España)
Ilo ilo, de Anthony Chen (Singapur)
Ilusión, de Daniel Castro (España)
The Image Revolution, de Patrick Meaney (Estados Unidos)
Inequality for All, de Jacob Kornbluth (Estados Unidos)
La laguna, de Gastón Bottaro y Luciano Juncos (Argentina)
Liberen a García, de María Boughen (Argentina)
Lucky, de Laura Checkoway (Estados Unidos)
El lugar del hijo, de Manuel Nieto (Uruguay / Argentina)
Meetings with a Young Poet, de Rudy Barichello (Canadá)
El mercado, de Néstor Frenkel (Argentina)
O mestre e o Divino, de Tiago Campos (Brasil)
Mujeres con pelotas, de Ginger Gentile y Gabriel Balanovsky (Argentina)
Night Moves, de Kelly Reichardt (Estados Unidos)
Norte, the End of History, de Lav Diaz (Filipinas)
Of Horses and Men, de Benedikt Erlingsson (Islandia / Alemania)
Of Snails and Men, de Tudor Giurgiu (Rumania)
Omar, de Hany Abu-Assad (Palestina)
Only Lovers Left Alive, de Jim Jarmusch (Reino Unido / Alemania)
Orensanz, de Rocío Mesa (España)
Our Sunhi, de Hong Sang-soo (Corea del Sur)
Les Petits Princes, de Vianney Lebasque (Francia)
Planta madre, de Gianfranco Quattrini (Argentina / Perú / Italia)
Por las plumas, de Neto Villalobos (Costa Rica)
Que ta joie demeure, de Denis Côté (Canadá)
Raíz, de Matías Rojas Valencia (Chile)
Red Obsession, de David Roach y Warwick Ross (Australia)
Reinas, de Ana Endara Mislov (Panamá)
ReMine, el último movimiento obrero, de Marcos Martínez Merino (España)
The Reunion, de Anna Odell (Suecia)
Rohmer in Paris, de Richard Misek (Reino Unido)
Sacro GRA, de Gianfranco Rosi (Italia)
Salvo, de Fabio Grassadonia y Antonio Piazza (Francia / Italia)
The Sea, de Stephen Brown (Reino Unido / Irlanda)
Seduced and Abandoned, de James Toback (Estados Unidos)
Silencio en la tierra de los sueños, de Tito Molina (Ecuador / Alemania)
Something Must Break, de Ester Martin Bergsmark (Suecia)
Somos Mari Pepa, de Samuel Kishi Leopo (México)
The Songs of Rice, de Uruphong Raksasad (Tailandia)
Stella cadente, de Lluís Miñarro (España)
Stray Dogs, de Tsai Ming Liang (Francia / Taiwán)
The Stuart Hall Project, de John Akomfrah (Reino Unido)
Tapalín, la película, de Belina Zavadisca, Mariana Rotundo, Federico y Delpero (Argentina)
Tarr Béla, I Used to Be a Filmmaker, de Jean-Marc Lamoure (Francia)
El tercero, de Rodrigo Guerrero (Argentina)
Terra de ninguém, de Salomé Lamas (Portugal)
That Has Been Bothering Me the Whole Time, de Arash T. Riahi (Austria)
Tower House, de Karl-Heinz Klopf (Austria / Japón)
El último pasajero (la verdadera historia), de Mathieu Orcel (Argentina)
The Unknown Known, de Errol Morris (Estados Unidos)
Uranes, de Chema García Ibarra (España)
We Are the Best!, de Lukas Moodysson (Suecia)
We Come as Friends, de Hubert Sauper (Francia / Austria)
Who Took Johnny, de David Beilinson, Suki Hawley y Michael Galinsky (Estados Unidos)
Wolf Children, de Mamoru Hosoda (Japón)
“Yo nena, yo princesa” - Experiencia trans de una niña de cinco años, de María Aramburú y Valeria Pavan (Argentina)
O arquipélago, de Gustavo Beck (Brasil / Chile)
Belva nera, de Alessio Rigo de Righi y Matteo Zoppis (Italia / Argentina)
O corpo de Afonso, de João Pedro Rodrigues (Portugal)
Dialogue d'ombres, de Jean-Marie Straub y Danièle Huillet (Francia / Suiza)
Un conte de Michel de Montaigne, de Jean-Marie Straub (Francia / Suiza)
Dive: Approach and Exit, de Sandro Aguilar (Portugal)
Jewels, de Sandro Aguilar (Portugal)
Encounters with Your Inner Trotsky Child, de Jim Finn (Estados Unidos)
Lettre à Mohamed, de Christine Moderbacher (Austria / Bélgica / Tunez)
Mahjong, de João Pedro Rodrigues y João Rui Guerra da Mata (Portugal)
Nelsa, de Felipe Guerrero (Colombia)
Solecito, de Oscar Ruiz Navia (Colombia / Dinamarca / Francia)
Tremor, de Ricardo Alves Jr. (Brasil)

PANORAMA - LOS DOCUMENTOS DE PITTSBURGH
Eyes, de Stan Brakhage (Estados Unidos)
DeusEx, de Stan Brakhage (Estados Unidos)
The Act of Seeing With One's Own Eyes, de Stan Brakhage (Estados Unidos)

PANORAMA - CORTOS DE MICHAELA GRILL
untitled, de Michaela Grill (Austria)
my kingdom for a lullaby #2, de Michaela Grill y Billy Roisz (Austria)
KILVO, de Michaela Grill (Austria)
Hello Again, de Michaela Grill (Austria)
cityscapes, de Michaela Grill y Martin Siewert (Austria)
FORÊT D’EXPÉRIMENTATION, de Michaela Grill (Austria / Canadá)
kingkong, de Michaela Grill (Austria)
trans, de Michaela Grill y Martin Siewert (Austria)
my kingdom for a lullaby #4, de Michaela Grill y Billy Roisz (Austria)
monroc, de Michaela Grill y Martin Siewert (Austria)

PANORAMA - FAMILY AFFAIRS
All About Kineret, de Tzlil Kahana (Israel)
Ingrown Nail, de Amir Rothschild-Neria (Israel)
Jerusalemites Can't Swim, de Rotem Lehmann (Israel)
Family Affairs, de Gil Golan (Israel)

PANORAMA - SUCESOS INTERVENIDOS
Sucesos Intervenidos(Argentina)

MÚSICA
AKA Doc Pomus, de Peter Miller y Will Hechter (Canadá / Estados Unidos)
Buenos Aires Rap, de Segundo Bercetche, Daiane Ghogomu y Sebastián Muñoz (Argentina)
Conexión Sur, de Dolores Lagrange (Argentina)
Dominguinhos, de Joaquim Castro, Eduardo Nazarian, Mariana Aydar (Brasil)
Downloaded, de Alex Winter (Estados Unidos)
Elektro Moskva, de Dominik Spritzendorfer y Elena Tikhonova (Austria)
Good Ol' Freda, de Ryan White (Estados Unidos)
La del Chango, de Milton Rodriguez (Argentina)
Los Rockers, rebelde rock & roll, de Matías Pinochet (Chile)
Michel Petrucciani, de Michael Radford (Francia / Alemania / Italia)
Mistaken for Strangers, de Tom Berninger (Estados Unidos)
Pichuco, de Martín Turnes (Argentina)
The Punk Singer - A Film about Kathleen Hanna, de Sini Anderson (Estados Unidos)
El rey del rocanrol (La leyenda de Pajarito Zaguri), de Néstor Alejandro Rodríguez Correa (Argentina)
The Sound of Belgium, de Jozef Devillé (Bélgica)
Triana pura y pura, de Ricardo Pachón (España)

NOCTURNA
Blue Ruin, de Jeremy Saulnier (Estados Unidos)
Cannon Fodder, de Eitan Gafny (Israel)
Escape from Tomorrow, de Randy Moore (Estados Unidos)
Jay & Silent Bob's Super Groovy Cartoon Movie!, de Steve Stark
Maknum Gonzalez, de George von Knorring (Chile)
Maniac Cop, de William Lustig (Estados Unidos)
Shakedown, de James Glickenhaus (Estados Unidos)
The Raid 2, de Gareth Evans (Indonesia)
Les Rencontres d'après minuit, de Yann Gonzalez (Francia)
Shield of Straw, de Takashi Miike (Japón)
Why Don't You Play in Hell?, de Sono Sion (Japón)

CLÁSICOS RESTAURADOS
Calles de fuego, de Walter Hill (Estados Unidos)
El cameraman, de Edward Sedgwick (Estados Unidos)
Distinto amanecer, de Julio Bracho (México)
The Epic of Everest, de John Noel (Reino Unido)
Fedora Remastered, de Billy Wilder (Alemania / Francia / Estados Unidos)
Kol Nidre, de Joseph Seiden (Estados Unidos)
Mamele, de Joseph Green y Konrad Tom (Polonia)
Nosferatu, de F.W. Murnau (Alemania)
Quisiera ser grande, de Penny Marshall (Estados Unidos)
Shivers, de David Cronenberg (Canadá)
El último emperador 3D, de Bernardo Bertolucci (Italia / Reino Unido)

SPORTIVO BAFICI
The Armstrong Lie, de Alex Gibney (Estados Unidos)
Boxing Gym, de Frederick Wiseman (Estados Unidos)
El campo de los sueños, de Phil Alden Robinson (Estados Unidos)
Ciudad dorada, de John Huston (Estados Unidos)
El crack, de José Martínez Suárez (Argentina)
Fulboy, de Martín Farina (Argentina)
Head Games: The Global Concussion Crisis, de Steve James (Estados Unidos)
Hoop Dreams, de Steve James (Estados Unidos)
The Jericho Mile, de Michael Mann (Estados Unidos)
Lenny Cooke, de Josh Safdie y Benny Safdie (Estados Unidos)
Match en el infierno, de Zoltán Fábri (Hungría)
Paula contra la mitad más uno, de Néstor Paternostro (Argentina)
Ping Pong, de Hugh Hartford (Reino Unido)
Rush: Pasión y gloria, de Ron Howard (Estados Unidos / Alemania / Reino Unido)
Santos,100 anos de futebol arte, de Lina Chamie (Brasil)
Soy Ringo, de José Luis Nacci (Argentina)
Temple of Emotions - The Maracanã Stadium in Rio de Janeiro, de Gerhard Schick (Alemania)
Weekend of a Champion, de Frank Simon (Francia / Reino Unido)
Bim bam boom, Las Luchas Morenas, de Marie Losier (Estados Unidos / Dinamarca / México)
The Referee, de Mattias Löw (Suecia)
Motion Picture, de Jørgen Leth (Dinamarca)
Chinese Ping-Pong, de Jørgen Leth (Dinamarca)
Pelota, de Jørgen Leth (Dinamarca)
Stars and Watercarriers, de Jørgen Leth (Dinamarca)
A Sunday in Hell, de Jørgen Leth (Dinamarca)
Michael Laudrup - A Football Player, de Jørgen Leth (Dinamarca)

RETROSPECTIVAS Y FOCOS

RITA AZEVEDO GOMES
O som da terra a tremer, de Rita Azevedo Gomes (Portugal)
Parabéns Manoel de Oliveira: Intromissões, de Rita Azevedo Gomes (Portugal)
Frágil como o mundo, de Rita Azevedo Gomes (Portugal)
Altar, de Rita Azevedo Gomes (Portugal)
A conquista de Faro, de Rita Azevedo Gomes (Portugal)
A 15ª pedra: Manoel de Oliveira e João Bénard da Costa em conversa filmada por Rita Azevedo Gomes, de Rita Azevedo Gomes (Portugal)
A colecção invisível, de Rita Azevedo Gomes (Portugal)
A vingança de uma mulher, de Rita Azevedo Gomes (Portugal)

JEAN-STÉPHANE BRON
Connu de nos services, de Jean-Stéphane Bron (Suiza)
La Bonne Conduite (Cinq histoires d'auto-école), de Jean-Stéphane Bron (Suiza)
Mais im Bundeshuus - Le Génie helvétique, de Jean-Stéphane Bron (Suiza)
Traders, de Jean-Stéphane Bron (Suiza / Francia)
Cleveland contre Wall Street, de Jean-Stéphane Bron (Suiza / Francia)
L'Expérience Blocher, de Jean-Stéphane Bron (Suiza / Francia)
La Petite Leçon de cinéma: Le Documentaire, de Jean-Stéphane Bron (Suiza)

ROBERT FENZ
Vertical Air, de Robert Fenz (Estados Unidos)
Meditations on Revolution, Part I: Lonely Planet, de Robert Fenz (Estados Unidos / Cuba)
Meditations on Revolution, Part II: The Space in Between, de Robert Fenz (Estados Unidos / Brasil)
Meditations on Revolution, Part III: Soledad, de Robert Fenz (Estados Unidos / México)
Meditations on Revolution, Part IV: Greenville, MS, de Robert Fenz (Estados Unidos)
Meditations on Revolution, Part V: Foreign City, de Robert Fenz (Estados Unidos)
Memorizing Lou, de Robert Fenz (Estados Unidos / Francia)
The Sole of the Foot, de Robert Fenz (Estados Unidos / Alemania)
Crossings, de Robert Fenz (Estados Unidos / México)
La Nuit, de Robert Fenz (Estados Unidos / Francia)
Correspondence, de Robert Fenz (Estados Unidos / Alemania)
Books, de Robert Fenz (Estados Unidos / Alemania)
Toros, de Robert Fenz (Estados Unidos / España)
Toros - Field, de Robert Fenz (Estados Unidos / España)
Toros - Windows, de Robert Fenz (Estados Unidos / España)
Tea, de Robert Fenz (Estados Unidos / Alemania)

CAO GUIMARÃES
Acidente, de Cao Guimarães y Pablo Lobato (Brasil)
Elvira Lorelay Alma de Dragón, de Cao Guimarães y Florencia Martínez (Brasil)
O homem das multidões, de Cao Guimarães y Marcelo Gomes (Brasil)
Inventário de raivinhas, de Cao Guimarães (Brasil)
Coletivo, de Cao Guimarães (Brasil)
Da janela do meu quarto, de Cao Guimarães (Brasil)
Quarta-Feira de Cinzas, de Cao Guimarães y Rivane Neuenschwander (Brasil)
Peiote, de Cao Guimarães (Brasil)
Sin peso, de Cao Guimarães (Brasil)
O inquilino, de Cao Guimarães y Rivane Neuenschwander (Brasil)
Brasília, de Cao Guimarães (Brasil)
Drawing, de Cao Guimarães (Brasil)

FRANK HENENLOTTER
Basket Case, de Frank Henenlotter (Estados Unidos)
Brain Damage, de Frank Henenlotter (Estados Unidos)
Basket Case 2, de Frank Henenlotter (Estados Unidos)
Frankenhooker, de Frank Henenlotter (Estados Unidos)
Basket Case 3, de Frank Henenlotter (Estados Unidos)
Bad Biology, de Frank Henenlotter (Estados Unidos)
Herschell Gordon Lewis: The Godfather of Gore, de Frank Henenlotter y Jimmy Maslon (Estados Unidos)
That's Sexploitation!, de Frank Henenlotter (Estados Unidos)

CARLOS SCHLIEPER
Cuatro corazones, de Carlos Schlieper y Enrique Santos Discépolo (Argentina)
El sillón y la gran duquesa, de Carlos Schlieper (Argentina)
La casa está vacía, de Carlos Schlieper (Chile)
El retrato, de Carlos Schlieper (Argentina)
La serpiente de cascabel, de Carlos Schlieper (Argentina)
Cita en las estrellas, de Carlos Schlieper (Argentina)
Cuando besa mi marido, de Carlos Schlieper (Argentina)
Arroz con leche, de Carlos Schlieper (Argentina)
Esposa último modelo, de Carlos Schlieper (Argentina)

URI ZOHAR
The True Story of Palestine, de Uri Zohar, Nathan Axelrod y Joel Silberg (Israel)
A Hole in the Moon, de Uri Zohar (Israel)
Three Days and a Child, de Uri Zohar (Israel)
Every Bastard a King, de Uri Zohar (Israel / Dinamarca)
The Rooster, de Uri Zohar (Israel)
Peeping Toms, de Uri Zohar (Israel)
Big Eyes, de Uri Zohar (Israel)
Poultry, de Uri Zohar (Israel)
Benched, de Gill Weinstein y Boaz Davidson (Israel)

CALARTS
Los Angeles Plays Itself, de Thom Andersen (Estados Unidos)
Red Hollywood, de Thom Andersen y Noël Burch (Estados Unidos)
Los Angeles Red Squad: The Communist Situation in California, de Travis Wilkerson (Estados Unidos)
Aurora notte, de Giulia Caruso (Italia / Estados Unidos)
The Surface of Perfection, de Heather Trawick (Estados Unidos / Canadá)
With Pluses and Minuses, de Mike Stoltz (Estados Unidos)
She Look Good, de Carly Short (Estados Unidos)
Sugar Rushes, de Jackson McCoy (Estados Unidos)
In Common, de Adele Horne (Estados Unidos)
Square Dance, Los Angeles County, California, 2013, de Sílvia das Fadas (Estados Unidos)
A Study in Natural Magic, de Charlotte Pryce (Estados Unidos)
Standards of Perfection, de Andrew Kim (Estados Unidos)
Windows by Night, de Luciano Piazza (Estados Unidos / Argentina)
Tenodera Sinensis: Birthing Observation, de Lydia Marie Hicks (Estados Unidos)
Ten Notes on a Summer's Day, de Mike Stoltz (Estados Unidos)
En un hormiguero, de Manuel Barenboim (Argentina / Estados Unidos)
Paradise Springs, de Brigid McCaffrey (Estados Unidos)
Recordando el ayer, de Alexandra Cuesta (Estados Unidos / Ecuador)
Beirut 2.14.05, de Alexandra Cuesta (Estados Unidos)
Piensa en mí, de Alexandra Cuesta (Estados Unidos)
Despedida, de Alexandra Cuesta (Ecuador / Estados Unidos)

CIEN AÑOS DE LA PRIMERA GUERRA MUNDIAL
Verdun, visions d'histoire, de Léon Poirier (Francia)
La gran ilusión, de Jean Renoir (Francia)
Jules y Jim, de François Truffaut (Francia)
La France, de Serge Bozon (Francia)
Paris 1919, de Paul Cowan (Francia / Canadá)

FILIPPELLI: RETRATOS
Retrato de Jorge Lavelli, de Rafael Filippelli (Argentina)
Retrato de Juan José Saer, de Rafael Filippelli (Argentina)
Esas cuatro notas, de Rafael Filippelli (Argentina)
Loca bohemia. Cinco días con Adrián Iaies, de Rafael Filippelli (Argentina)

WARP
Arctic Monkeys Live at the Apollo, de Richard Ayoade (Reino Unido)
Bunny and the Bull, de Paul King (Reino Unido)
Dead Man's Shoes, de Shane Meadows (Reino Unido)
Donkey Punch, de Oliver Blackburn (Reino Unido)
Four Lions, de Chris Morris (Reino Unido / Francia)
Kill List, de Ben Wheatley (Reino Unido)
Southcliffe, de Sean Durkin (Reino Unido)
Submarine, de Richard Ayoade (Reino Unido / Estados Unidos)
The Stone Roses: Made of Stone, de Shane Meadows (Reino Unido)
This Is England, de Shane Meadows (Reino Unido)
Tyrannosaur, de Paddy Considine (Reino Unido)
A Gun for George, de Matthew Holness (Reino Unido)
Dog Altogether, de Paddy Considine (Reino Unido)
Dr. Easy, de Jason Groves, Chris Harding y Richard Kenworthy (Reino Unido)
My Wrongs 8245-8249 and 117, de Chris Morris (Reino Unido)
Rubber Johnny, de Chris Cunningham (Reino Unido)
Swimmer, de Lynne Ramsay (Reino Unido)
COMPETENCIA ARGENTINA (CORTOS)
Jurados: María Alché, Robert Fenz, Ricardo Greene.

Ahora es nunca, de Pablo Acosta Larroca y Nicolás Aponte A. Gutter (Argentina)
Backwards, de Sol Muñoz y Ana Apontes (Argentina)
Caracoles y diamantes, de Paola Michaels (Argentina / Colombia)
Groenlandia, de Lucía Gasconi (Argentina)
Hilda, de Daniela Goldes (Argentina)
La lengua que se comió el gato, de Gabriela Coka (Argentina / Ecuador)
Los limpiadores, de Lucía Cavallotti (Argentina)
Lo que dicen del monte, de Octávio Tavares yFrancisca Oyaneder (Argentina)
Mala letra, de Marcos Meconi (Argentina)
Miguelina, de Pablo Stigliani (Argentina)
No sé María, de Paula Grinszpan (Argentina)
Numen, de Natalia Bianchi (Argentina)
Primeras luces, de Joaquín Lucuix (Argentina)
La reina, de Manuel Abramovich (Argentina)
Rockero Reyes, de Romina Cohn (Argentina)
Salers, de Fernando Dominguez (Argentina)
Sobre la hora, de Pablo Fernández (Argentina)
Tornado, de Ignacio Ceroi (Argentina)
El valle interior, de Alejandro Telémaco Tarraf (Argentina)
Viernes 20-15, de Agustín Burghi (Argentina)

MUESTRA DE CORTOS
El Adán, de Adrián Suárez y Natalia Nogueira (Argentina)
Arenal, de Juan Hendel (Argentina)
Así somos sin Serena, de Inés Villanueva (Argentina)
Caoba, de Clara Gabay (Argentina)
Carnaval, de Lisa Caligaris (Argentina)
Conversaciones en el jardín, de José María Avilés (Argentina)
Cumpleaños del 67, de Denise Lara Margules (Argentina)
Dos experiencias en el bosque, de Alejo Franzetti (Argentina)
Entre Romina y el mundo, de Guadalupe Docampo (Argentina)
FAV, de Daniel Celina (Argentina)
Forastero, de Lucía Ferreyra (Argentina)
El gran Cifuentes, de Felipe Bergaño (Argentina / Colombia)
Higos, de Ignacio Del Campo Iturregui (Argentina)
El juncal, de Segundo Arregui (Argentina)
Matar a un perro, de Alejo Santos (Argentina)
La mochila perfecta, de Nele Wohlatz (Argentina / Alemania)
Música, gramática, gimnasia, de Fabián Ramos (Argentina)
Nocturnos, de Ivana L. Nebuloni y Julián Pérez Cobo (Argentina)
Nombre y apellido, de Ileana Dell'Unti (Argentina)
Nuestra arma es nuestra lengua, de Cristián Cartier Ballvé (Argentina)
P.F.A., de Felipe Martín Bravo (Argentina)
Payada pa' Satán, de Antonio Balseiro y Carlos Balseiro (Argentina)
Perseo, de María Florencia Sosa (Argentina)
La piel, de Ezequiel Yanco (Argentina)
Princesa, de María Victoria Paredes (Argentina)
Ruido, de Germán Ruiz (Argentina)
Segunda luna de miel, de Cecilia Lagar y Sol Alonso (Argentina)
Tal vez después, de Martina Giancaterino (Argentina)
Yo te quiero!, de Nicolás Conte (Argentina)


Wed Mar 26, 2014 10:51 am
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This is what I'd see. honestly though did not go through whole list since my eyes started to hurt. I've seen only 3x3D, and one of the portuguese ones. avoided mostly retrospective stuff aside from portguese shit
Grand Central, de Rebecca Zlotowski (Francia / Austria)
Un château en Italie, de Valeria Bruni Tedeschi (Francia)
São Silvestre, de Lina Chamie (Brasil)
The Sacrament, de Ti West (Estados Unidos)
Journey to the West, de Tsai Ming Liang (Francia / Taiwán)
Wrong Cops, de Quentin Dupieux (Francia)
Redemption, de Miguel Gomes (Portugal / Francia / Alemania / Italia)
Pororo: The Racing Adventure, de Young-kyun Park (Corea del Sur)
Rio 2, de Carlos Saldanha (Estados Unidos)
3X3D, de Edgar Pêra, Peter Greenaway y Jean-Luc Godard (Portugal)
A Story of Children and Film, de Mark Cousins (Reino Unido)
Afternoon Delight, de Jill Soloway (Estados Unidos)
Aimer, boire et chanter, de Alain Resnais (Francia)
The Airstrip, de Heinz Emigholz (Alemania)
Cae la noche en Bucarest, de Corneliu Porumboiu (Rumania)
Coming to Terms, de Jon Jost (Estados Unidos)
Gare du Nord, de Claire Simon (Francia / Canadá)
Ilo ilo, de Anthony Chen (Singapur)
Night Moves, de Kelly Reichardt (Estados Unidos)
Norte, the End of History, de Lav Diaz (Filipinas)
Only Lovers Left Alive, de Jim Jarmusch (Reino Unido / Alemania)
Our Sunhi, de Hong Sang-soo (Corea del Sur)
Que ta joie demeure, de Denis Côté (Canadá)
The Unknown Known, de Errol Morris (Estados Unidos)
We Are the Best!, de Lukas Moodysson (Suecia)
Wolf Children, de Mamoru Hosoda (Japón)
O corpo de Afonso, de João Pedro Rodrigues (Portugal)
Mahjong, de João Pedro Rodrigues y João Rui Guerra da Mata (Portugal)

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Everything around me is evaporating. My whole life, my memories, my imagination and its contents, my personality - it's all evaporating. I continuously feel that I was someone else, that I felt something else, that I thought something else. What I'm attending here is a show with another set. And the show I'm attending is myself. Fernando Pessoa

Live. Laugh. Love. - Freddy Krueger


Wed Mar 26, 2014 1:47 pm
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Post Re: Beau's Spirited Shenanigans

Awesome. I had a few of those written down already, but I'll look into the others.


Wed Mar 26, 2014 1:51 pm
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Ilo Ilo is the kind of movie you should only watch if it is on TV on a Sunday afternoon, don't waste your money on it.

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** The Seashell and the Clergyman / Dulac
The Tales of Beatrix Potter / Mills
* A Flood in Ba'ath Country / Amiralay
Times and Winds / Erdem
Most Beautiful Island / Asensio
* Japanese Girls Never Die / Matsui
* Birth Certificate / Różewicz
Bush Mama / Gerima
** Paris Is Burning / Livingston


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Wed Mar 26, 2014 2:01 pm
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i haven't seen ilo ilo but a beautiful argentine I know, who has great taste in cinema, sings it's praises. not as beautiful as you beau, don't worry.

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Everything around me is evaporating. My whole life, my memories, my imagination and its contents, my personality - it's all evaporating. I continuously feel that I was someone else, that I felt something else, that I thought something else. What I'm attending here is a show with another set. And the show I'm attending is myself. Fernando Pessoa

Live. Laugh. Love. - Freddy Krueger


Wed Mar 26, 2014 2:04 pm
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Philosophe rouge wrote:
i haven't seen ilo ilo but a beautiful argentine I know, who has great taste in cinema, sings it's praises. not as beautiful as you beau, don't worry.


:heart:

I was jealous for a second there.


Wed Mar 26, 2014 2:17 pm
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I'd see:

Manakamana
Norte, the End of History
Que ta joie demeure
Stray Dogs

And that Rita Azevedo Gomes retro is epic.

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Wed Mar 26, 2014 2:27 pm
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i'm dying to see norte

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Wed Mar 26, 2014 3:14 pm
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Ilo Ilo is barely cinema

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Latest notable first-time viewings:

* The Sun in a Net / Uher
** The Seashell and the Clergyman / Dulac
The Tales of Beatrix Potter / Mills
* A Flood in Ba'ath Country / Amiralay
Times and Winds / Erdem
Most Beautiful Island / Asensio
* Japanese Girls Never Die / Matsui
* Birth Certificate / Różewicz
Bush Mama / Gerima
** Paris Is Burning / Livingston


TWEET1 | TWEET2 | FACE | BOXD | TUMBL1 | TUMBL2


Wed Mar 26, 2014 4:11 pm
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in addition to what's been said, i'd be interested in the following:

la última película
double play
tip top
educação sentimental
dialogue d'ombres
un conte de michel de montaigne


Thu Mar 27, 2014 3:15 am
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Izzy Black wrote:
i'm dying to see norte


Best of the festival, thus far.


Wed Apr 09, 2014 6:10 am
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