“Bad Company” (Mauvaises Frequentations), the U.S. preem of Jean-Pierre Ameris’ French feature.
“Bloody Angels,” Karin Julsrud’s Norwegian drama from USA Films that unspooled in Toronto.
“Butterfly Tongue” (La Lengua de las Mariposas), a Spanish drama from director Jose Luis Cuerda about a teacher during the time of the Civil War. Shown in San Sebastian and picked up by Miramax.
“The Charcoal People” (Os Carvoeiros), an ethnographic Brazilian docu directed by Nigel Noble.
“Chasing Buddha,” a portrait of an eccentric Buddhist nun directed by Amiel Courtin-Wilson, and “Original Schtick,” a look at a would-be great artist by Maciej Wszelaki, two mid-length docus from Australia showing as “Docs From Down Under.”
“The Cup,” Khyentse Norbu’s Cannes and Toronto hit from Bhutan, picked up by Fine Line.
“Gigantic” (Absolute Giganten), German drama directed by Sebastian Schipper.
“Herod’s Law” (La Ley de Herodes), director Luis Estrada’s political period piece that has been a huge hit in its native Mexico.
“Hidden River,” a romance from Argentina directed by Mercedes Garcia Guevara.
“Human Resources” (Resources Humaines), French feature by Laurent Cantet.
“Luna Papa,” a quirky drama from Tadjikistani director Bakhtiyar Khudojnazarov that played in Toronto.
“Mundo Grua” (Crane World), directed by Pablo Trapero, from Argentina, which screened in Venice.
“New Waterford Girl,” new Canadian film by Allan Moyle that debuted in Toronto.
“New Year’s Day,” a British feature from director Suri Krishnamma about a suicide pact between two kids.
“No One Writes to the Colonel,” Cannes competition entry by Mexican director Arturo Ripstein.
“Not One Less,” top prize winner in Venice by Chinese director Zhang Yimou.
“Nowhere to Hide,” suspenser from South Korea by Lee Myung-Se.
“Oi! Warning,” German drama about working class kids directed by Dominik Reding and Benjamin Reding.
“A Paradise Under the Stars,” Cuban sex farce about dancers at the Tropicana directed by Gerardo Chijona.
“The Prompter” (Sufflosen), Norwegian drama seen at the Montreal fest directed by Hilde Heier.
“A Room for Romeo Brass,” Shane Meadows’ latest, about two teenage friends in Nottingham, shown at Edinburgh and Toronto.
“Saving Grace,” British feature starring Brenda Blethyn as a widow who discovers her late husband was a crook, directed by Nigel Cole.
“Scarfies,” a “Shallow Grave”-style thriller from New Zealand directed by Robert Sarkies that unspooled in Cannes.
“Shower,” director Zhang Yang’s look at a changing China, shown in Toronto.
“Simon Magus,” a stylized look at a 19th century Jewish village in Central Europe directed by Ben Hopkins that has been recut since its debut in Berlin.
“Soft Fruit,” Australian director Christina Andreef’s feature about a dysfunctional family that comes together as the result of a family tragedy.
“Wonderland,” Michael Winterbottom’s ensemble contempo London feature that figured in the Cannes competition, from USA Films.
Two films will be shown under the Sundance Collection banner:
“Blood Simple,” a revival of the Coen brothers’ first feature in a new print and with a special introduction, 12 years after it premiered at Sundance.
“Killer of Sheep,” Charles Burnett’s indie classic in a newly struck print.