Hot sidebars tout Spurlock, Herzog, Goldthwait films

Documentaries from Nick Broomfield, Morgan Spurlock and Werner Herzog, and midnight fare from Bobcat Goldthwait, Adam Wingard and “The Blair Witch Project” co-director Eduardo Sanchez, will world preem at the Toronto Film Festival.

Fest added 55 titles, including 30 world preems in its Wednesday announcement, plus the complete programs for Midnight Madness, Vanguard, Tiff Kids (formerly known as Sprockets) and City to City, as well as the bulk of its international doc slate for its Real to Reel sidebar. Canadian docs will be announced next week.

Sure to be hot tickets in the 22-pic Real to Reel, Broomfield’s “Sarah Palin — You Betcha!” (co-directed with Joan Churchill) attempts to get the folks of Wasilla, Alaska, to open up about their former mayor.

Spurlock’s “Comic-Con: Episode IV — A Fan’s Hope” illuminates the cultural phenomenon of the ultimate geek event, while Herzog’s “Into the Abyss” unravels the psychological dimensions of a triple murder case in Texas.

Real to Reel is dominated by world-preeming pics from U.S. docmakers, including Jessica Yu’s “Last Call at the Oasis,” investigating the U.S. water crisis; Alex Gibney’s “The Last Gladiators,” focusing on the career and return to society of former pro-hockey bruiser Chris “Knuckles” Nilan;bruiser Chris “Knuckles” Nilan; “Urbanized,” the final part of Gary Hustwit’s design trilogy; Joe Berlinger and Bruce Sinofsky’s “Paradise Lost 3: Purgatory,” the latest instalment of doc series “West Memphis Three”; and Stephen Kessler’s “Paul Williams Still Alive,” a portrait of the 1970s superstar.;”Samsara,” Ron Frick’s meditation on a Tibetan word that means “the ever-turning wheel of life” a la his previous “Baraka”; Bill Duke and D. Channsin Berry’s “Dark Girls,” an exploration of skin color bias; and Ashley Sabin and David Redmon’s “Girl Model,” following a model scout scouring Siberia for new faces.

Other Real to Reel world preems are Mark Cousins’ 15-hour doc “The Story of Film: An Odyssey,” based on his book; “In My Mother’s Arms,” Atia Al Daradji and Mohamed Al Daradji’s portrait of a Baghdad orphanage; and “The Last Dogs of Winter,” Costa Botes’ saga of a struggling Eskimo-dog breeding colony.

Section includes international preems of Corinna Belz’s “Gerhard Richter Painting,” Rithy Panh’s “Duch, Master of the Forges of Hell,” Tony Krawitz’s “The Tall Man,” Dan Lindsay and T. J. Martin’s “Undefeated,” and the North American preems of Jonathan Demme’s “I’m Carolyn Parker: The Good, the Mad, and the Beautiful,” Frederick Wiseman’s “Crazy Horse,” Kim Ki-Duk’s “Arirang” and Michael Glawogger’s “Whores’ Glory.”

Midnight Madness unspools nine world preems in its 10 pics, including Sanchez’s “Lovely Molly,” in which a newlywed unravels after returning to her abandoned family home; Goldthwait’s “God Bless America,” about a terminally-ill jobless man who sets out to rid society of its most repellent members, and Wingard’s “You’re Next,” in which a family is sadistically attacked during a reunion getaway. Also world preeming in Midnight Madness are: Douglas Aarniokoski’s post-apocalyptic road pic “The Day”; Alexandre Courtes’ tale of a rock trio trapped in a high-security asylum, “The Incident”; Gareth Evans’ Indonesian slum thriller “The Raid”; Julien Maury and Alexandre Bustillo’s gothic mansion scarefest “Livid”; Frederic Jardin’s corrupt cop chiller “Sleepless Night” and Katsuhito Ishii’s psychotic revenge pic “Smuggler.”

Ben Wheatley’s “Kill List,” nabbed by IFC Midnight at SXSW, will get its Canadian preem.

Tiff Kids delivers the world preems of 3D toon “A Monster in Paris,” from animation vet Bibo Bergeron (“Shark Tale”); Bess Kargman’s doc “First Position,” following an international ballet competition; Hiroyuki Okiura’s lonely-child adventure “A Letter to Momo”; as well as an international preem of live-action/animated “The Flying Machine,” from helmers Martin Clapp, Geoff Lindsey and Dorota Kobiela.

Vanguard’s seven-pic, cutting-edge slate includes the world preems of Jean-Baptiste Leonetti’s “Carre Blanc” and Pen-ek Ratanaruang’s “Headshot” and the North American preems of Joachim Trier’s “Oslo, August 31st,” Victor Ginzburg’s “Generation P,” Lou Ye’s “Love and Bruises,” Justin Kurzel’s “Snowtown” and Sebastian Lelio’s “The Year of the Tiger.”

City to City’s 10-pic, Buenos Aires-made roster includes world preems of Alison Murray’s working-class musician doc “Caprichosos de San Telmo” and Nicolas Prividera’s modern-history essay “Fatherland,” plus the international preems of Carlos Sorin’s “The Cat Vanishes,” Roman Cardenas’ “The Stones” and Juan Minujin’s “Vaquero.” Rodrigo Moreno’s “A Mysterious World,” Tamae Garateguy’s “Pompeya” and Santiago Mitre’s “The Student” get North American preems

Hugo Santiago’s “Invasion” will receive its Canadian preem and Pablo Trapero’s seminal “Crane World” will also screen in City to City.

While most of Masters is yet to be unveiled, fest announced the Canadian preem of Wim Wenders’ docu “Pina,” and Toronto preem of Jafar Panahi and Mojtaba Mirtahmasb’s “This Is Not a Film” in the program. Fest runs Sept. 8-18.

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