Idrissa Ouedraogo's second feature (1989), from Burkina Faso, focuses on a young boy (Noufou Ouedraogo) and his female cousin (Roukietou Barry) as they befriend an old woman in their village (Fatimata Sanga) who's treated as an outcast and accused of being a witch.
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Created for the Internet video site Channel 101, Yacht Rock (2005-'06) was a surprisingly rich, lovingly snarky sitcom about 70s soft rock, tracing the shifting allegiances and mostly fanciful schemes of studio lizards like Michael McDonald, Kenny Loggins, Christopher Cross, and Toto.
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In Alaa Al Aswany's hugely popular novel the real-life Yacoubian building, erected to house Cairo's elite and since fallen into genteel decay, functions as a compact metaphor for the shifting strata of a crumbling Egyptian class system.
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Also known as Memory and Memorandum, this 2001 documentary by Mostafa Razzagh Karimi and Mojalal Varahram about the geography, history, and diverse cultures of Iran proceeds without narration or dialogue.
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The Amsterdam- and Tel Aviv-based artist will screen and discuss works including The Polish Trilogy, Kings of the Hill, Wild Seeds, and A Declaration.
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Film student Paul Schrader hit the Hollywood jackpot with this clever blend of gangster flick and Asian chop-chop (his screenplay reportedly went for $300,000).
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Written and directed by Arik Kaplun, a Russian émigré to Israel, this overly contrived and broadly comic 1999 feature focuses on a group of immigrants in a Tel Aviv neighborhood during the gulf war.
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During the Cultural Revolution, Chinese theater and cinema were limited to productions of “model works,” ideological operas commissioned by Madam Mao; three decades after that calamitous period, propaganda pieces like The Red Women's Detachment are being revived onstage in a much different China.
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The clash between American consumer culture and Cuban revolutionary fervor plays out in a fascinating, unpredictable manner in this colorful 2002 feature by David Schendel, about an offbeat collection of Havana painters, auto mechanics, and former racers who are slavishly devoted to their vintage American cars.
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In this satisfying 1999 documentary, W.J. Hardiman interviews a group of pioneering black residents from Buffalo, New York, whose informal neighborhood socials, begun in the 1940s, paved the way for the city's blossoming black middle-class.
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Jodie Mack's experimental “minimusical,” which employs cutout animation, pixilation, and stop-motion techniques, tells the story of a young romantic couple experiencing the domestic dilemmas of newlywed life.
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A disappointing follow-up to Little Odessa, James Gray's second feature is one more sluggish, artfully framed thriller with Rembrandt lighting set in a New York borough—a kind of picture that's awfully hard to do in a fresh manner.
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