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Talking Images

Episode 41 · 1 year ago

10+ Brand New Hidden Gems (ICMFFF2021)

ABOUT THIS EPISODE

Every year films go under the radar. Here are 10+ brand new films you may have missed, and why you should consider seeking them out.

These 10 films and more will be part of the 5th ICMForum Film Festival, which will be held between the 15th of November and the 13th of December 2021.

We also recorded an episode on ICMFFF2020 last year. You can listen here:

Sounder: https://talking-images.sounder.fm/episode/icmff2020-festival-heighlights

Spotify: https://open.spotify.com/episode/35OyNtbUHadIyH0isEooky

Apple Podcasts: https://podcasts.apple.com/us/podcast/icmff2020-main-slate-and-highlights-from-the-festival/id1542580739?i=1000502047182

Anyone inspired by this episode should consider coming to ICMForum.com and join in the fun.

You are listening to talking images, the official podcast of ICM Forumcom. Welcome back everyone, I'm Chris, and today we're going to talk about the topic that's near and there to our hearts. Every year, films that have something so special and powerful that they entrance us, surprise us, stun our senses, kick us in the gut, make us think and or engulf us in unique sensory experiences just disappear. There's little to no buzz, few screenings and in the end they are swallowed by the Sea of endless content. As film lovers, it can almost hurt to see a film we love go without getting attention. You almost feel a sense of personal responsibility in terms of just getting the word out there and promoting it. This is a large part of the reason why we at the ICM forum put together monthly challenges to rediscover and watch thems and host a yearly pull to put the spotlight under watched films. But no effort is as extensive as that of the ICM Forum Film Festival. Every year, programmers worked tirelessly go through hundreds of brand new films and select a tight program that runs from mid November to mid December. No, there are no screens, but each film must be reasonably available, and the discussion, participation and sense of discovery has, since it started five years ago, been one of the highlights of at least my cinematic year. We talked about the ICEMFFF last year as well, and if you want to listen to that episode you will find a link in the description. At that time, Tom and I were in the jury. This year we both saw the bug and join the programmer team for a very first time. I don't think I have ever seen this many new films back to back. Hundred and seventy three films were nominated in total, and that's not even looking at all of the films that were under consideration. In the end we managed to trim this down to a main slate of ten films, the core event of the festival. In this episode we will talk through each of these ten films in detail, in particular our centerpiece, the twenty century. We which did is seemingly impossible getting full or strong support for each programmer. That just never happens. Of course, our festival also has a select set of smaller flates, each with four films in their selection, and while we can possibly talk through each of them. We will share our highlights and taught on the program as a whole and, if you find the time, recommendations. Oh and if I didn't mention this is not your usual lineup of hosts. As always, Thomas here, but we're joined by two entirely new voices, never to have been on talking images before, both I see M fff programmers. First I would like to give a warm welcome to breath. Introduce yourself and the this tell us how you got involved way. I see M fff. Thanks, Chris. Hello everyone, and my name is Brett. I'm better known as FERGGIN APRIDO on the forum. This is my fourth festival doing programming, something I quite enjoy, and after the first year the festivals brought over to the forum I was really intrigued, but I don't typically watch a lot of films compared to some of the other people on the forum, and so I always felt that I didn't have enough time to watch the whole slate of films during the actual festival, and what appealed to me a lot more was being able to take more time, spread that out throughout the year to watch these films that people were recommending and then also to perform my own recommendations and it's something that I've really enjoyed since starting and I'm really glad that I've done it and I hope to continue doing it for many years to come. Thanks bread. Perfect the presentation and we really happy to write. I'm really happy that work with you over the last year as well to is put for this program I think you guys. We're also joined by pathy, who is we can probably call our share programmer...

...and has led the programming committee now for this second year in the row. So, pet it is, tell us how you got involved, how you ended up taking over as leading the Programmer Committee and just your views and how the ICM for and Film Festival has the volved. Yeah, I got involved not the first year. It came to the ICEHIM form. I was asked to be a programmer, but I thought it was too complex. There was a lot of rules and processes, and then, of course I couldn't stay away, so I joined up the next year. Last year, person who leaded US along old all these years. You didn't have the time anymore and I thought the way it was going, I thought, well, the only one who's really gone to do with is me. So I did. And then last year I was also trying to maybe streamline the rules a bit or make it clear, because it's really not so such a complex a process. So I hope I did that. But then I was still not getting the programmers. And then when the festival was finally there last year, that there was such a rush of and to sea some so that really for me. That reufinated the whole thing. And then this year my mind was blown by we started the first of January. We couldn't stop ourselves and then right out of the gates up till now we just kept watching movies. And usually I'm the one who is I've seen the whole festival when we start something like that, but now I feel I'm not so much this year. So I'm I'm in awe of everyone and I'm happy to, yeah, lead in air quotes this process. Thank you so much better. And Yeah, I have this. Had to agree. I mean, I was blown away by then to see us this year, and it's it's so easy to get sucked into it all because you're getting so many potentially great films. There's so much discussion among the programmers. It is, it feel, like such an organic process them really happy I signed up. So there's obviously one more participant to day who you all know but who has not said they were already at and that's my regular co host Tom so. You people have to introduce yourself, but I would like to hear about what it was that made you take the plunge and join the programming team. I everyone. Thanks for the INCHER, Chris so. I took pass in last year's, I seem from film festival as a viewer and I discovered lots of great films and I was really, by the way, by the fairs. I thought it was a great idea and I wanted to be involved. I go to lots of film festivals. I like to think that got a pulse on new releases, specifically when it comes to the horror genre, and I thought I'd had something to add. So I took the plunge and joined in as a programmer, and it's been a great year in terms of film viewings, because I've discovered lots of new films that I probably wouldn't have found out about if it wasn't for the great programming team that I worked with. Thanks time and, at least for me, the prospect of being a programmer has been there for quite some time. I was a member of the jury, I think, every year from the first year on. Word and what really stopped me from signing up or do any the program it was as I didn't think I had the time or the focus to this contribute that much. But the last year, after all of that enthusiasm and just really being as sucked up into the atmosphere because it was so great last year, I just had no reason or excuse not to do it anymore and I'm just so happy I did, because it was an amazing experience and I can't wait to do it for twenty and twenty two either, and definitely in for a long hole. Now and with a whole of the back story out of the way, let's just dive into the main slate, the ten films that we'll probably be seen and talked about the most in this year's edition of the festival, and we can probably just do it alphabetically, or at least almost the alphabetically, as we I think, for the very first time, have two animated films in the main slate and it would be interesting to explore them side by side. The contrast is quite big. I also think will be fitting, to say, our centerpiece the twenty century until the very end, so that we can truly explore and talk about why we loved it as much as we did, because, again, every single program or either really liked it or just felt completely in love with it. So there's something really special about the twentieth century. So, starting from the top in alphabetical order, we have on the ADA, which is a Swedish hi fi film.

That I mean, I think, the way I described it, also that it managed to bring in this kind of existential skindinavian sensibilities to space. So all of your reactions to seeing on the OIDA, so I was pleased to say that, any I was nominated for the festival. I watch this film maybe you or two ago, and it really struck a code of me. Think when we did a SPA ACE exploration episode, I was the only one who had seen it. So I'm glad that it's getting more traction now and I love how it's kind of like the antithesis of two thousand and one. Whereas that's kind of the evolution of mankind seen through a journey into space, this is almost like the devolution of mankind seem through the journey through space that goes awry, and the set designers is brilliant. There's lots to unpack and there's some brilliant visuals, especially towards the latter part of the film. So I'm hoping that this will make a big impression when everyone does into it during the festival. Yeah, I mean, I have to say, on the other really was a bit the first sleeper hit for me, because it is from what I've heard about this, from what the scene I figured it would be good, it would be interesting, but I didn't think I would love it and it just felt look so different. There's somebody recognizable elements, like you have doomed voyage voyagers on the spaceship that it was in. Time and time again we have, you know, this kind of consumerism and space. We've seen that from time to time as well, obviously, but like there's just this I new to the existentialism that dimension, this Mundanity and just this kind of careful niceties and just hire at all expectations manners. It's almost like a dark observational comedy, if you will, but all was so cold and it has US getting even humor. That maybe just because I think I'm the onlyest getting even in the vodkas. So I responded quite heavily to that, especially not this kind of just repetition of work, consumerism, all of these pretenses, as you can get this microcosm of society and just as you mentioned, on this extreme devolution and just the psychological experiment of this. How long will society stay to get her how will humans respond to this? How much we're little can they take? And I think it delivered on all the cylinders. I mean it's clearly a fairly low but the film it it never feels like it. So yeah, this is it was a sleeperhet for me, definitely. I just did not expect this to have the power that did ended up having for me. I haven't seen the film actually, but it just one that I never got around to seeing because I had enough support already from the other programmers. But looking at it now it does seem quite interesting and I'm curious also about the original one thousand nine hundred and sixty version that they made at this film to see how it compares. So it's definitely one that I'm intending to check out and I'm hoping that are since our jurors voted for it, that there's going to be a lot of enthusiasm for this one as well. And the next film up in alphabetical order is beam pool, or Dolby as was originally called in the Russian by come to me Blagov, which is one of my nominees actually, and I was really lucky with my nominees this year in terms of the main slate, and I managed to present this cold and nerving yet tender film that kind of just hits a visual nerve because it follows this tall, slim nurse, a bean pole if you will, as he struggles through life in post the World War Two Soviet Union and cares for her child, and there's this this icy underbelly here. It has distancing effect, it has this kind of poetic like is a visual beauty over it the entire time, but then it also goes into extremely dark territory. It's totally strong drama from a director I have a lot of hope for closeness. was all already in Icee, M ff three by the same director, and it was quite successful there. So it seems like bag could end up becoming one of those festival names keep making returns. But yeah, incredible visuals, part hitting story, great acting. It's a film that that is, to me, really was the full package. Yeah, I really agree with you there, and it's I saw it a while back when it was releasing cinemas over here, and it reminded me of Russian cinema from the s when it was released far more regularly in cinemas over here. And it was the strong, strong fishuals mostly, and again here. You already mentioned them, and particularly with this one, it's also the colors. You already see it...

...in the boaster, but it's the really impressed me and it's I think this is a young director will be talking a lot about them for years to come. So I saw this film earlier this year and it was one of the many films from this program that I've seen thanks to movie unofficial promotion. But I'm the loaned attractor. This film is cold, but it also left me cold and for some reason the central relationship between the two women didn't really work for me, and I don't know why, but I did really like the way that the film was shot and I thought that the Senate cinematography and the they were colors and they were bright, but they were also muted at the same time, which is very different from a lot of these World War II error films that you see, especially these bleak, depressing dramas. They tend to be either filmed intentionally in black and white these days or they sort of gritty browns and grays and yellows, but here you felt like there's some bright reds and some bright greenshid always feels a bit dirty and muted, which I'm not sure if that makes sense, but that's sort of the way that my brain visually interpreted it. So I do think it's a good story and it's an interesting film to watch, but unfortunately it did not strike this heart of mine. Well, that's a perfect description of the visuals. Actually, I think I even wrote the same in my review. It really does feel dirty. Didn't catch the same thing. I didn't matter to express it as nicely to do that. It's so colorful but feels muted at the same time. I think that's really something that elevates the film because it's really difficult to do and I can't really think of many films that's manage you have such a beautiful pellet of the strong colders but still feel muted. It's really impressive and even if you don't end up loving the film, or even if the plot thing in the story lines, etc. Don't win you all over it or if it's too cold, I think most people will end up really appreciating just what this does visually. Yes, and I think also there's another aspect of the film that sets it apart from other contemporary films set in the era, is that it focuses on the impact it had, the war had, and also the impact that they had on the war of women, and I know that Soviet and Russian cinema has been very good at this over the years, of showcasing the strong female presence in war, of amongst the fighters, amongst the home front, but it's something that you don't really see nowadays, and especially for other countries, and I think this did a really good job of highling that in a way that they're not just passive participants, their active participants and they're not just there to take care of the men that they are to fight as well, only there there to do the best they can for themselves in their country while still trying to deal with all the issues that a woman of more time has to deal with. That's a great point. Breath and Hant considered it from that angle, because it deals with a lot of high own situations that they're women have to go through. Neverously, we see that their tragic events of World War Two way heavily on their lives. And I like that you've mentioned the the color scheme as well, because I picked up on that as well. It's a bleak and depressing film with a predominantly grimy beige color scheme, but there are moments of striking bright colors and a suppose. Despite the relentless misery, it's shot in a manner that makes the dingy surroundings almost big guiling, because you've got this precise framing and the meticulous long takes. They offer a hypnotic glimpse into a savage and an unkind Erea in history and although being pole is a gruel in experience, it's undoubtedly and accomplished work. But I'm leaning closer to Brett's opinion and that I don't think I'd envisage myself returning to it anytime soon. I appreciated it. I think it is a good film, but there's a lot of dance and bleaks in there. That makes me reluctant to revisit it any time to yeah, I think anyone who is put off by called films with chilling material will have bought a hard time watching it, and the definitely a hard time really sitting it when they know where it goes. And I wish I could said at the the NCTIM we're talking about is light there. I'm not sure I can, but it's certainly homely year in some ways. And it is the Icelandic echo or back mall, by unit runics on, which, at least to me, is just such an extraordinary work. It combines fifty six vignets of everyday life, some of them just thirty to forty seconds long, into a seventy nine minute film. There's no will narrative, if you will. Many of the vignettes are without there's entirely out plots, some entirely without dialog. But as the...

...film progresses it really starts to find a shape, a form, until the point where we realize that we are getting a complete picture of Iceland. Around Christmas and New Year's we see people opening presence or having a meal either with their family or a loan we get political victory, we get a sermon in a church, we get immigrants being arrested and no character is ever visited, but we do follow a clear in their tread as we are really just slowed in by dark humor, bleak minimalism, familiarity and of your station. And this was again one of my nominees. I'm so happy it made it. I really didn't think it would. To me at first, I thought that this would be fit for the art house. They did not have that kind of universal appeal. But we're as about endlessness by royalunders and which I nominated and in which didn't make it. This will actually manage to convince the people who aren't into our house films that it had something special going for it, and I really think the reason for that is that holistic view and the fact it paying such a temporary picture with a lot of thought about this how society is, and it is with both humor, heart foul and realism, and it's just it's a wonderful work. It is a film that I when I saw I was like, Oh, this is an art house film. This we've heard for the art house slate, just as you mentioned. So I was also quite surprised that the jury's jury decided that this is something they wanted to see. With regards to your Anderson Comparison, I've only seen one anderson film on his earlier ones are one of his trilogy films, I should say, and I find him that that style film just to be very artificial, and I know it's intentional and that's a style. It's just slow and plotting artificial and I don't really see the comparisons here, aside from having those vignettes, because in the Anderson films those Vignett's return and they they continue on and they sound kind of interconnected, but maybe not. Who is here? I don't think any story was told more than once in any of the fifty six vignettes. And maybe it's fine bias because I'm I'm fascinated by the country of Iceland and I have enjoyed their put cinematically, but I just I was really drawn into this film and I really did enjoy seeing those little pieces, those snapshots of what was being displayed. Obviously it's all stage, but there's some more offentasy to it and that it didn't feel. It's not like these are things that could happen to anyone and do happen to to everyone, whereas in the Anderson films it just so fabricated that it's okay, this is outside the realm of possibility, but it makes for an interesting visual experience, whereas this one is like that could be my house on fire on Christmas Day and I could be dead stating to me, or this could be happening to a neighbor of mine, and I found that aspect of the film quite interesting. Yeah, I think you're completely right there. Actually, that is the big difference between Anderson and lunars. I think. To me what makes them similar is that they're bleaked dark, existential comedies that focuses in a life and they do it in vignettes and the Vignetts are one take, but that's really does the form like the content itself, and the style of the content is very different. Like you mentioned, everything is in Anson's works is heavily stylized and sanitized and just taken to this completely different world. And here they really is that real. Is The mangle. There really is that sense that this could really be happening, and I think you're completely right. That's probably a large part of reason why it ended up appealing more to people outside of the art all scene. I think you hit it on the head. To Chris, it's really a holistic few of the world. It's not bleak in that sense to me, and that's why the form is minimalistic and Art House e. But I think it has universal apell and there's just that Christmas spirit that's in there. So this is actually when our first of all is gearing up towards the Christmas time. I think it's maybe kill everybody should see from the main slate. It's it has universal appeal, but not in a way that some some commercials use images from everyday life to to sell you some banking or car. I was fearing that the movie would be like that, but when I saw it, that the minimalistic form it chooses and yeah, just all the choices it makes. It's really a good movie that speaks to, I think, everybody. It's a really great endorsement pay at there, especially as Dangel that yea, sir, festival is actually airing from it November to mid December, so just getting that Christmas wives in there. It's such I did fit and then, cal if, you actually had to get the film with that WHO Holyday Moltief, even if it's not to know exactly what people expect from a...

Christmas movie. I'm glad it managed to enter the main slate, even if just for that reason alone, and the next film alphabetically. It probably doesn't have exactly that, but it certainly has a look and it's impot by pay him out certain and this was one of your nominies, patter. Would you like to introduce it? Sure. Well, I always say it's a kind of a film war, but it's actually not. It doesn't have the synicism of film wire, but it does the driver alone on the road and it's a bit of a rogget silent type and he goes through a bar somewhere in the movie. That is it's has the coolest bar, ladies since range of the lost art inform. It's it's truly an art house movie and it's produced by one car. Why that? Well, you might not really see that in the inform, but it's. Yeah, the story tells is maybe hard to follow, her to get into, maybe a bit spiritual at times. So in that way it's it's an hermetic movie, but just for the images and for the protagonist people in it. I think everybody will get something out of this one. It's a really beautiful shot movie. There's a lot of style. Yeah, what more to say? Yeah, I think that this style is what is the first thing that will be striking at the people and I think, even though the content doesn't necessarily remind anyone of one car, why it's like that. Getting that kind of look there is something he would do and it's a very different director. It's handles very differently, but I have to say this film is deliciously shot them they was lighting really makes it seem like the Queen is emitting pure heat and you have this kind of CPR black and white. You have a lot of flash. You know, her protagonist is someone who essentially never removes his sunglasses. I mean you have a type of pool, no nonsense look. That would have been perfect. Or won car. Why? For Mike Takashi? Maybe twenty years ago. Perhaps it has that. We shall look, but no, it's just not that kind of film. It's actually a slow, brooding, lyrical and, as it becomes clear and clear, a very philosophical feel about choices, connections and thought. I think it ties into some religious suspects as as well. You can say it works bit of an allegory of how two paths emerge into one as well as it does a lot. It feels unusual. It's rare but lovely when you not that Ray, but it's just lovely when you get that kind of merge of really great vish rules. It also has that kind of cool edge, wit, more slow brooding and philosophical elements. So it's been the good alien. It's so people again this is the film that kind of taught with a better in our pals, but clearly it had the appeal and I do think it actually real impress a lot of the audience it's coming into it because it's one of those films that no one's really talked about. It's probably one of the most obscure and underseeen films from our entire main slate. So I think this is one of those feels I could just really surprise people and grab them. Yeah, it will be a real discovery for a lot of people. I like what you say about images almost being like light, because I called it a noir and it's. The characters are rugged but they are not cynical, and then the images are not really dark, but they are light. But it's so it's almost like an emptying warm because it has links to the genre, but it's doing things in its own way, in the opposite way. Yes, that's so true, and it also ties into some Western tropes as well. I thought so, I'd it really just has that saenre for filmmaking trope and expression in there, but then delivers so much else but to move to the next film, the hidden city or Lassida or Kuta, by victory mode end. I mean that's a film that has no, let's put it, no saunre cinema elements. It doesn't even have a story. I mean, this is once again I film I would have been sure would only have any kind of hope of making it in the art house late, because it's like out of the main state, perhaps even out of everything in the art house selection, this could be described as the most experimental. It's a breathtaking sensory experience created through underground footage, from tunnels to sewers, two trains, finding beauty in the most unusual ways and places. And again there's no plot. There's so much, just darkness and magical visual fee. Wouldn't think it would be possible to get those kinds of fairy shows. But yeah, this one just flowed me that this actually managed to make it into the main it it's an underground voyage, I think, and it's in a way you comparable to the to the atograph up lap films that we see...

...the last couple of years by people just taking the camera on assigned voyage and in it. But this one it goes on the ground, it goes to different places and, like you said, it sometimes you're wondering how are they getting these images? What kind of cameras are they using? What kind of exposures? It's really, really wonderful and sometimes alienating and it's always impressive and it's just a wonderful journey and I will to say only say just make your room as dark as possible when putting on this movie. It's you really need to dive into it. That's a great recommendation. I think that's that's that fruite right. You have to see this movie in the dark and I really like what you mentioned. They're about the feeling alien because this is an example of just going through everyday life. The obviously so many of the scenes you get shots of sewers, you get shots of rats, you get shots of, you know, sewers wall, so just electronic screens in the train station, etc. And it's not something we used to seeing, or at least not used to seeing in that way, like it makes a sewage wall look like the night sky filled with beautiful stars. It's and in terms of the alien element, just the way it focuses in and I think like a train map, for instance. There's just whole many elements there that it really reuses material from the real world and makes it look different and unique to make it people look at it in a different way than usually would, and that that's exciting and it's thrilling and it's new and it really adds a kind of tension you wouldn't expect this type of film to have. And I think we can also say that the next film, althabetic on the slate. There is no evil, by Muhammad as aloof also makes us think and about things in a slightly different way, because this is probably one of the bravest denunciations of the Ranian regime that has been made in Iran and it takes the topic of this large social discussion and it just merged it with mundanity, familiarity and this the intimacy of everyday life to the send to the extent that when things actually tie in with this dark reality, it shocks us and it stunts us. It's a way of talking about life and death issues and policy and, you know, extreme forms of punishment in a very different way where justice. Title says there really is no evil. There's just a society that make people do things that makes us very uneasy and they do things that may stay with them and score them for the rest of their lives. I think it's probably one of the hardest hipping films of the main slate, but it's also one of the films that I personally love the most. So what all of your reactions to? There is no evil. There is no evil. It's a beautiful film, which I think it's made me realize they're similarities between all of films on the main site. They're all shot beautifully, really striking films, and this one in particular. There it follows for powerful stories today a length. thematically, they each look at different parts of the society and how searching punishment affects those whose lives it enters, and I could have quite happily watched their feature length film on each of the four short stories. They all hugely engrossing and the performances capture the raw emotional tum oil of those whose lives are thrown into disarray by the tragic events that we witness, and I'm really glad that this one made the main slight because I think a lot of people are going to find it's a very deep and thought provoking but also rewarding experience. Going to add that it will be released in Dutch cinemas on the second of December, so that's a perfect poor first of all, Dutch, fewer skin go to the cinema to watch it there. Yeah, and I think this is a film that I think, of all of the films on this lite, would really do with us in the reviewing. But I think this is a bit of an epic really it's it's hard hitting, but it's slow. When I think that the First Act, for instance, it really loves your senses. You're wondering what the evil is, and I'm not going to spoil anything about what happens, but at least for me, it came out of nowhere and it's just might make your audience gasp. Even so, I think that seeing this one with an audience might be especially strong. I also think it's worth...

...mentioning that, if slow cinema isn't your cup of tea, don't be put off by this. I'm not a huge fan of slow cinema, but I was absolutely hawks on this. It's got a really captivating, engaging story. It's beautifully shot, so take a controm this and guarantee you'll be glad that you watched it. Yeah, absolutely agree. I think for a little while you might be unsure of what the exactly the film is building up to, but once you get it and you get that that's what the film will focus on, I think you'll be glued to your seat. And that and the let's just without spoiling any of the other stories as well, they get even more tense, if you can put it like that, either in terms of just actual suspense or just in terms of direct tension between the characters and an obvious see, most films have some kind of central tension, something to be fourth over, and the next film, Albabethically, is this is not a burial, it's a resurrection by Lemoan Dere Maya Mossa, and I'm hoping forronouncing that correctly, because he really is striking out as once I get a really visually exciting director. I think, like you said, Tom I think every single film on the the main state is shocks stunningly and it's definitely one of the things that bring them all together. But this is a director who really knows how to use visuals in a really great set of ways. It ranges from the stunning compositions of nature and flowers do more trippy, almost experimental footash. It's a mismatch of sensory experiences. But don't Doro it is it's not an experimental film. It is actually a very clear narrative of an older woman whose village is about to be flooded, whose citizens are essentially being paid out to leave and she does not want to move. And it's about just this team, which is just something that's happening all over, the thought of apparently, which peace, you know, this essentially more calm, with the old fashioned customs against in a city bureaucracy and this kind of where it pushes what a Benety that, you know, leaves certain people, you know, in complete disbelief. The wilder and met the wilderment and sorrow. I think it does whole much emotionally, so much visually, but also so much with the story that it really it really this is one film that fire is big on every cylinder. You'll get just an incredible sensory experience blending so many different types of ristules. Who get a really strong moving narrative, you get social commentary and you get an incredible central performance. It really has it all and it's undoubtedly one of my favorite films from the main slate. I think that this film is going to take the award for the film with the best title in the festival. I absolutely love it. This is not a burial direction. It's such an intriguing and poetic title and it conjures up all sorts of ideas about what the the film might involve. And, as you said, Chris, it's a brilliant story about a clash between traditions and modernization and it's a familiar a story, but it it's told in a refreshing way and the such a striking use of color and it's real bold and beautiful vission and there's undoubtedly a bright future for the direct say from the very open scenes of the film. I was hot, how is pstly mesmerized by the evocative Narratus, to the extent that I kind of wish that the film and spent more time with him, and the music and depiction of a culture that I was unfamiliar with was also fascinating. So I'm glad that Christ nominated this one important to our attention and I'm pretty sure going to have a great reception in the festival. Yeah, it's certainly a colorful film and it also helps a Lusuto is just a beautiful country. With the clothes of the people is always very striking to me that they look sometimes like a Peruvian or Bolivian people, with these colorful Dick Mountain Bunchho like things they have on. And well, it's certainly a director with a lot of promise in the future and he when I was celebrating it's seventy five years of existence this year, he was one of the people invited to make a specially installation artwork for them, along with Lucretia Martel and colors like Gat us and Ya San Ge. So he was already up there with the with the big namess in the art house scene. And I heard...

...him talk for about an hour or so about yeah, well, how he's trying to find his voice. Is African voice. He's mostly self thought. And then he was he went to Berlin and learned the trade there, and of course African filmmakers pick up the trade by watching a lot of western movies. So he was really looking for well, he depicted a lot of things out from his youth, his grandma's in the movie in all kinds of ways and just the the stories of the country. It's not an easy move to say what it's about because it's about so many things, but it's I think it's one of the many African movies that we see now coming up with a with a very modern, youthful voys and that really putting forward a global cinema, not not just a post colonial cinema or something that it's really of the country itself, but it's really speaking to the to the world, and they are part of this growing global world we're living in. And and you see, that's also reflected in the festival because we now when last year we couldn't find one African movie for the African slate, we now have a separate African slate and I think that really showcasing whatever can cinema is doing at the moment, and I think Mossesse is leading the back. I think I'll be the lone the tractor on this case. I'll place spouse for it. Again, I really wanted to enjoy this film. It was something that, I forget who, either Chris or Patter, had been talking about quite regularly in the discussion and so I was looking forward to it and I was glad that I finally got a chance to see it. And I do agree that visually this is stunning, absolutely stunning, not just the way that they shot the characters and the colorful clothing, but just the landscape itself. And I'm a sucker for beautiful landscape films and this this has no beautiful mountains and valleys and miss and AH. It's absolutely gorgeous, a hundred percent, but I just couldn't really get into the story as much as I was hoping to. And then, without say anything to spoilery it, the way that the film wrapped up just didn't really work for me and that kind of took away from the whole experience, because that would that up until that point I've been like Ye know, it's okay, it's good, it's good, but that ending just didn't really work for me. However, I think it still is quite a formidable film and I'm still perfectly happy that I did make the main slate and I'm excited at people are excited to see a movie from the Soto because it's not a country that's on many people's radars cinematically. It's also probably a country half people haven't even heard of before and not knowing where it is or that it is even a country, and I think that's one of the great benefits of this film festival, is that it does allow us to highlight cinema from forgotten places or unlikely places, and it's not like, oh, we're helping push along this little film from the South, Oh give it a chance, but no, this is a formidable film that looks great. It feels like it could have been produced anywhere else in the world and it's exciting that cinemas starting to reach this level internationally where it's not just a handful of countries that make the best films in the world and everything else is just this getting the scraps. It's that you're seeing quality filmmaking coming from all corners of the world and we're truly reaching us plot where you don't know where the next great film is going to come from, and I think that's a really exciting elements that this film is an example of. I think that might just be one of the most beautiful detractions I've ever heard. Sure. So thank you for that breath and the and yes, I'm like I said, for me this is one of my favorite films of this that is decade, honestly, and I think I do have hopes that other people will feel the same way and like to mention this. The title to it has so much in it that it can be taken literally, as the film really deals with grieving. The main character, Mantua, has just lost her tongue, and it does capture that stunningly. But it's also the idea of the village being eitherly relocated or the people potentially fighting back, and it just has this. It could mean so much, and the commentary and the examination of just the social nature of the people here. It could also be taken in so many different ways. Of this how we see progression, versions, tradition, just how we see the characters, and I think regards of our views on all of this. I do think they meet us with their emotions. So I hope that people going into this film will be blown away. Not everyone will, that's always the case, but I do think that, like Bret said, anyone who loves beautifully looking cinema will at these finds something to love here. and talking about beauty,...

...beauty can also sometimes be very ugly and even grotesque, and that's how I felt watching set he or she. How are you want to read the title? It's s ahead of he by Senguay sow. It's a Shinese stop motion film about choose, and that's might make some people raise their eyebrows a little bit, but I have to tell you this, this is some of the most most unnerving animated films that I have ever seen. I almost get Yan Swank my wives here just in how it works with the material to make it to and easy, to almost make us squirm. As you know, we get this experience of metal, leather and clothed than just everyday items that can seem so off putting and so disturbing. There's this kind of elusive power within perhaps all stop motion really to render everyday of jects sinister, and here we're just entering this kind of nightmare splender off it all as the film actually starts to look at Richard gender conformity and oppression, with male and leather shoes in charge and anything feminine must be killed or perhaps replaced with paint and metal, and the few women shoes are allowed to exist are kept imprisoned, locked the way within layers of closed their essentially they're only used being reproduction. This is such an ugly film. There's no dialog, but there's it's also just such visually, for it is stunning creation at don't think I've seen anything quite like it, and I like I don't know even know how to like if there's a market quite for this because it's so unusual, but it once again, I think this is a case where someone managed to find a film that I had author of I would never have seen if not for this festival, but became an instant favorite. And I think this once again all of those films in the main slate that just will shock and surprise people. So I'm just so happy that is there to he or she not sure. I'll like you say, Chris, how unnever that, but it's easily the best animated feature I've seen last waking through the nominations, and it's really encouraging that stop motion animation hasn't become obsolete over the years, that it's still going strong, even if it's in the guise of these obscure passion projects. But it's a bold and beautiful Chinese stop motion animation that will surely resonate, as Chris said, with fans of Frank Meyer and the key brothers. It could easily be enjoyed it face value for this kind of absurd Lynch in nightmare world it depicts. There is some really grotesque and unusual visuals. For instance, there's a scene where there's creatures which, you're made up just a brains with legs and they fought cigarettes. Like, what on Earth is that all about? But it was brilliant and it offers thoughtful commentary on gender overthrowing the system and Chinese factory shop workers, which is not bad for an animated film with no dialog whatsoever. As Chris said, the way times when it could be a little difficult to follow or wasn't sure if some of the scenes were depicted in such a way due to symbolism. That may have gone over my head or would just stylistic choices. That looks good, but that is only a minor gray and I was hoping that this would be a solid contender for the animation slate and I'm really pleasantly surprised that it's made it to the main slate because it offers a unique for you and I think it's very strikingly different from the rest of the films on there the main site, and that can only be a good thing. Yeah, I think I think you're completely right that there's so many direct comparisons to sweatshops in China through various forms of cultures other probably things. That's definitely going over my head here as well. But but what I also really like about is that it doesn't make easy points about the ender rolls. It really this takes us down this kind of utter early nightmarish trip which,...

...you know, even the characters, if it will be meant to root for, turnout in very different ways than we might have taught and it's like this cycle of more and more grotesque in and nerving visuals that you're absolutely right, tom this is like a Lynchian trip in so many ways. And it's well those things I'm sure I'll probably see again. I would love to see it and I would love to see again. I'm sure many other people attracted it again, because you keep thinking, what else did I miss? What else is here? And this is another film that really hasn't gotten more, much, much exposure outside of this festival. It's not a wonderful, extremely unseen find. So I hope that you know our users, we start to spread the word, that we can get more writeups on it. I'm sure discussion on this film will be quite extensive. So, since there's really not been much, you know, commentary from critics as are on this film yet like, I really hope we can feel in just some of that void, because there's just so much to talk about here. And of course, he or she is not the only animated films on the main slate this time around. There's also a Japanese and three Traumata, or premiere, however you want to pronounce this title, and this is probably one of the clearest examples of what some people are now referring to maximalism. It's so overatop and I think it's at least for me. I this was not one of those sleeper hits. For me, I had not expected really loving this because it seemed like it was going to be this kind of more conventional anime action film, but then it just took all of the conventions to extremes and it's just embraced it's cliches and went all in. And to top it all of it has this semi trippy animated style that makes it feel like it had a whole life on its own. It's, once again, like every single film this late we surely beautiful, but it's also action packed. It's fast. It's so fast and I think that, if you know, some of these films might have been a little bit slow. I think this is this, and also say here, to be honest, it's also quite fast, but a different way, brings the kind of ant adult to that within the mains lay too. So it's a really balanced late just with no real team beyond this looking stunning. Well, I'm first of all, it's really trying its best to highlight understand things because animation, as you said, it's gone under the radar. I haven't seen as he yet and I hadn't heard about it before it came to our attention. Through the programmers and Promar. I had seen it played in the cinema over here. It's luckily that the story is a bit conventional actually, because it goes so fast and then the style is turned up to it turns all the way up to eleven. It's really over the top and you can still follow it because the story beats. You have seen them before. If you haven't watch any Nime, maybe you've seen some tendency movies. It follows those kinds of story beats. Yeah, it's just a hell of a ride. I would certainly agree there. It's really fawn and exciting experience. The visuals are really striking. The music is bombastic and over the top, but it works brilliantly with a film and it feels like there's a there's a lot to the story. In some Hans you might imagine that this would being stretched out to making anime series, but they managed to pack it all lunch of film. But it doesn't feel crowded and there's a lot of great action sequences, but they all feel slightly different to each other. So it's great how there's these different visual themes that it appear throughout the movie at different points and as the other guys you said, it's just a lot of fun and some really impressive animation in that here. Yeah, I think that's a really good description of it. It could have been a TV show, but it's just so compressed and fast, and you're absolutely right to paint it that. The fact that the plot in so many ways it is conventional. That is a strength tear because, yes, you wouldn't have been able to follow it otherwise unless you just start glued there with almost with a notebook. So the facially very happy. It did not go for a far more trippy or deep type of contemplative plotting where we would have all been very, very lost. And that is a actually almost the entire Maine slate. There's just one...

...film less the twentieth century by Matt You Rankin and full dispositer. This is, in my opinion, the best film of the festival and I didn't even nominate it. It was it was pet it and it became my favorite film of two thousand and nineteen just like a few months after we recorded the episode for talking emerge and I was beating myself up that, you know, I have not seen this earlier. Just as sweet each of the other films visually breathtaking, possibly one of the most visually breathtaking here, but it's also terribly bizarre, certifiably camp and just mad mismatch of old school cinematic styles from the s and s and s that that just creates a never world. Looking back at the one of Canada's ex prime ministers, essentially the picking the rise of William Lyon Mackenzie King to power. But in this world Canada is a poor, essentially gas lighted and willing prisoner of a seemingly fascistic Britain, represented by the Lord Protector Motto, buying the flag of the old disappointment, and Canadian citizens, having little lotto, do more than expected and accept less than the served. And this is just a mad trip visual styles all over the place. Camping has turned up to a thousand. It's Hilarious, it's awkward and I think we will have to mention a Guy Madden a few times there as well, because it's hard not to make some comparisons. But just as wit do and I done and and Roy Andershon even though some of the form might be similar, this never wrote this. You know. It's a real aerie pastiche the way they do it is completely different. Ranking is actually presenting a picture of Canada. He's playing with history and he's playing with patriotism and it's introducing all of these hilarious elements from ridiculous trials and he's playing around with gender roles. It's doing so much that the comparison also seems a little bit insulting, because this is a filmmaker, its debut, by the way, and it really is a filmmaker with a brand new wishing, a unique style. I can't wait to see where he's going in the future. But yet did this. This is just absolutely incredible. Take you so much for nominating it. Better my pleasure. It was also a you surprise for me, and what was also surprised actually all of us loved it. It was well, as you say it the movie celebrates cinema in in many forms, so it shouldn't be that surprising, but it's not a movie. I would think that would be for everybody. There's the the story that is about Canada politics on the one hand, that not a lot of people outside of Canada will know about, but I don't think it's really all about that. And then, as the gender things, there are some from horror and some camp and some gross things in there that will be not for everybody and yet we'll, with all our different pace, we all loved it. For me, I was aware of this film when it first came out because it was a for a bunch of national awards. I am Canadian, by the way. So yeah, so I was quite surprised when I heard other people starting to grow this film because often times these smaller Canadian films don't get distribution and it came out, you know, two years ago, but only got a chance to see it part way through this year just because it wasn't really available. And I think the comparisons to madden are very apt. He I do find a lot of madnesque elements to Rankin's film. But yeah, this one blew me away. I had been meaning to watch I just kept putting it off and putting off, but I really thoroughly enjoyed this, much to my own surprise, and it was just completely bonkers and I don't normally go for completely bonkers films, but this one, for some whatever reason, had all the right elements to make me enjoy it. And I was one reason I surprised at other people were enjoying it because it does have a lot of Canadian specific references, especially to the political history of that country from around the turn of the Nineteen Century or turn of twenty century. So it was I was very pleased to see that even if you don't have this context, you're still able to enjoy the film and I think that really speaks to the vision that Matthew Rankin had of creating such a film that would be accessible to everyone, regardless of how much they understood of the basis of the story. And additionally, with the...

...the genderblind casting, which may seem like a stunt, but I feel with this type of film it just worked completely and after you and it's like, oh, that's a woman playing a man, but then after you've noticed it, it doesn't really factor into anything else beyond end is it note this character is male and it's presented as male and it just makes sense and that just it just seemed to work. And I think also reimagining some historical figures in a queer context or in a can't be context might put off a couple of people, but for me it just I thought it was hilarious and I know that the Real William L MC king was not like that and the real it was bored in was the other one wasn't like that and there were two prime ministers who had a lot of conflict between each other in later years. So it's interesting to reimagine them and what they went through when they were younger and had a lot of great sayings. My new favorite saying is as certain as a winter's Day in springtime, which, as a Canadian, makes perfect sense because it may be a pro fifteen but it's going to have a snowstorm the next day. Kind of thing, like, you know, something crazy he's going to happen weather wise in the middle of a spring and it just it hit all the things that I like about film on the head and it just made me absolutely adore it. And not only am I greatly surprised at the rest of the programmers greatly enjoyed this film, but I'm also pleasantly surprised that the juror's voting. Actually, no, he didn't let them from we just said now you're going to watch this film when either so like to loan so much of this push it through. It's great to hear the Canadian frame of reference. There but, and it's really into see that. You know, all of us program is got behind this film. I can certainly see why Chris absolutely does it as well because, like you've already said, it has to feel of it a guy man in fit phil there were also brings an ample helping give comedy, which is used to wonderful effects throughout. The Quirky set designs use charm and the vibrent performances from the cast ensure that a film which delves into the world of politics is far from stuffy, and there's a real sense of theatrical performances from the past that kind of Hark back to the exaggerated performances often seen in silent cinema. And, as Brett said, it's just a completely bonkers film, but in the best way possible. There so much imagination on show, and I feel like I've already said this about a couple of films in the main slate, but maybe again it's a film unlike anything else on the slate. That's only a good thing, surely. So I hope everyone else enjoys this as much as we have and love that den it comes upot over over again, and this is a unique feeling on the main slade or this film is unique. With this film is just completely underseen. It's really seems to be the team this year. I think this is all the reasons, but I'm stall proud of this slay they managed to put together because you have, like on the R A, which is, you know, our cult effort. Essentially you have these animated films going completely different directions to have slow films, you have fast films, you have you have experimental things, so literally everything under the Sun almost, and with this film, I think yes, like we all said like the must be something in the water in Canada that makes directors be able to do this kind of film and do it without seeming to mock anything. Because, yes, what's the big part of Guy Maddens thing? Is it? It takes cinema from the tens and twenties and and dirties, just mixes them together and uses the same kind of can't be acting, but without mocking this style. He just uses it for comedy. And this is exactly the same thing ranking and dust. But I think it just kind of takes references like it later where you kind of starts in the early thirties. That adds in the S S and maybe even like six s TV elements in there as well, almost, and he's the still that earnest performance that you know that if you ever watch, you know, terrible dirties, propaganda films, for instance, degree from madness. It has that kind of earnesty in the overtopness in the performance. This is something with that that makes instantly hilarious, instantly enjoyable, especially when taken into some something this insane in terms of style, where you have like outside scenes that feels almost like non like the German expression is in just we just how minimalistic the sets are, but then you get inside of the buildings and it's a worldly can't be and it's just it's vishtually all over the place almost. But that's what kind of ties it all to get there and the earnestness in it all and the lightness and the amount of comedy and just these ridiculous trials, and I just love that, by the way. I just I I know I'm babbling out of love for this film, but just the fact that you know that one of the trials in becoming prime minister's literally how passive aggressive you can be. I mean it's just so amazing. It's up through the he hilarious from beginning to end. It looks great doing it and it's just,...

...yeah, like yeah bread said, it's one of those things that just fires up all my buttons. It hits every single soft spot I have and it's just it's so happy I discovered this film. I must say the passive aggressive part is is fairly accurate as well for the Canadian experience, just as inside though, what you're saying, there is a large chunk of Canadians in it. That's just weird, and I don't know why this is, but too small anecdotes. There is a good book, and I think it was even turned to a film afterwards, on Canadian cinema for the S and it's title is weird sex and snowshoes, which is just sort of recurring theme of items in Canadian Cinema. And then also a few years ago on the phone, someone did a comparison of which lists were most similar to other lists and of the official Canadian list, the one that was the pole from tip, the list that share the most number of films with, was with the three hundred and sixty six weirdless cinema, which run expected, but it just it makes sense. There are just so many weird films coming out of the country, beyond the you know, Caronenberg's and Madden's, which we all know and expect the films are going to be. WEARE, but even other smaller films like kissed, for you know, Woman's having sex with courses because that's what she does. Like you, just these little things that, for some reason or not, Canadians Excel at Crean, these weird films. The rest of all just gobbles up, and I think ranking is the latest example of that. Yeah, absolutely agree, and I definitely need to sit down the watch even more of these weird Canadian films, because I'm sure there's a lot more in store for me. I mean, this film barely has any imprints so far in the night internationally. I really hope the word comes out. Cod might not have helped the slowing down the festival's circuit for it perhaps, but yeah, it's an incredible film. I so happy we picked it as a centerpiece and and that's literally the entire mainslate some rise that we really went the little bit longer and we expected to go on these as well. So unfortunately, we have spend even less time on the odder slates. We haven't. There's just so many wonderful slates. Like men should. We have an African slate standing on its own for a first time. We also have a Latin Americans, late and Asian slate and the European slate. We have an in this late and art pulse slate and a colds late which is called just before dawn. We have our animation slate and lcbtq plus late. Oh, and we have a documentary slate, and I think we have a really good balanced mix of interest points for anyone coming into the festival and want to explore further to well be obviously, we can't discuss all of these films in any kind of great detail. I would be injured in knowing it is. Which of these slates are you most proud off or would be most excited to jump into if it weren't a programmer? I'm genuinely and generally please with all the slates we've come up with. I think we've managed to put together some really interesting slates that, even if they're grouped by theme, they don't feel like it's four films at the same thing they feel different and differentiated in each slate. For example, the animation slate has four very different styles and animation and very different films from around the world, and I think that's really a strength of it and I'm looking forward to mostly myself. I've seen everything on the LGBT slate, so I'm obviously I'm looking forward to that and sorry angel a French film there was the only other film, aside from twenty century, that was seen by all programmers. So it's a notable distinction there. And the other one that I'm interested in most is probably the year slate. Typically this slates always dominated by French films and there's not a single French film in the your hous late this year, so it's a different take of what we had. And I think the Latin American slate is also something that interest me and, like you mentioned, this the first time we've had an African state solely on its own, and I think that's a huge step up from last year where I think the only African film had was in the main slate. So the fact that we have an African film the main state plus for high quality African films from around the continent. This year really goes to show that not only is African cinema supposed to be taking seriously, and should have been taken seriously decades ago, but that audiences are starting to warm up to a better in its distribution is getting easier, it's easier for them to make films and I'm really excited to see how our jurors will respond to the African slate if they give it a go, and just how many interesting stories are to be told from that continent. Think those who listen to talking images regularly will know which slight time the most proud of, which is obviously the just before dawn slate, because that's where a lot of my horror nomination slot in. We've got why don't you just die, which is a brilliant black comedy from Russia. We've found room for an inventive Argentinean thriller which takes place entirely in a single...

...location, which is called for by four. That's another brilliant one. We also have another bonker's film from Canada in the form of anything for Jackson, which is potentially the creepiest horror film on the slate and a brilliant psychological horror called rental hell. So I'm really excited to see what the reception will be on the just before dawn slate. I'm also very interested to dive into the African site to watch the remaining films in there that I haven't seen. I really enjoyed air conditioner and Jesus shows you the way to the highway. And, as Brett said, we've got such a diverse slate from so many representing so many different countries, so many different styles of filmmakers, and I'm really proud of what we put together here. We've watched an incredible amount of films to bring you this program so you can be assured that you know we've put a heart into this and it made sure that we've presented the best possible films for you. So I hope that everyone enjoys it and I hope that if you're not a regular visit it to the ICM forum that you'll come along and join him with the festival, because we're a friendly bunch and would love to hear from anyone who wants to take part. Yeah, so I'll jump in and also mentioned that every con slate. I already mentioned it before. It's really nice to have it the really special I think I really see an search of activity and every continuma. It's already happening for a while now, but it's I think it's getting more and more. There's a lot of things happening there. But also we have to we have a really, really good, deemed this year of programmers and it's really reflected in the diversity of the slaves. Indeed, no French movies in the European slade. We have a very different animation slate. We have even inny slate. It's always difficult for us to get the good broke grammers to Delph into that and I think it really worked out. And if I have to single out something I want to highlight and I'm really proud of, than it's the art house slate. That's really my style. I think most of the nominations are either made by me or are gotten into there because of recommendations by me, and I mostly want to highlight the collision cinema. There's two movies nominated by Chris after I put them on the path to the collision cinema. There's there's a new wave happening there. For a few years now it's really experimental cinema, a lot of mood, a lot of landscape, and Galicia has a beautiful green landscape. It's it's in a northern part of Spain, but it's a rocket wild terrain and there's really the Celtic culture is it's also coming true and that's we wanted to highlight that. So we have two movies from that region in that program and next to that we have an an essay movie from a European director working in Brazil and it's really again journey through the night almost, and it's it's obscured, oh, Baraco I. I think the title says at all and leaves it poetically obscure. And then we have a movie from India that it's it's perfect fit for the art house slate. It's not really something most people will expect from India. It's experimental cinema, it's by a filmmaker who deals with with a lot of religious team, but it does it in an obscure kind of way. So it's not always coming true. And though, Tim I'm really, really curious to see the reactions to this. Yeah, I think for me as well, the two slates I'm most particularly proud of is Africa and art house. I think, for Africa in particular the fact that it managed to get for such different thing on when we have these shows, the way to the highway, which is one of Thom's domination, is just this up. The really bound girls take on essentially matrix like teams but with the old school graphics. Is like the Matrix if it will set up with a technology in the s or the even the late s. It looks so again can't be. But it's a lot of fun, it's high energy, it's playful, it it really works into its limitations. It's just such a wild ride. And then you have something you'll such so small and heart felt, like supermodo about a girl with a terminal illness and her dreams of being a superhero, where essentially entire village comes together to kind of try to make her feel like a superhero. It's lovely and strong. Then you have something like air conditioner, which both eye and soul, who is not in this episode but it's one for regular co host both put high on our lists. For Two thousand and twenty, which is just this almost meditative kind of low budget and my culty look at class relations in and all of it in a really funny way and again, and I really visually stunning way to it's really intriu with us, to dark comedy. And then you have something like you'd which...

...is more of a clear cut, the drama about the women within a conservative society, and I just think it's for completely different countries, it's for completely different styles and it's just great to see the Mana should get that kind of selection for Africa. Is just absolutely lovely. I hope you can do as good at the other next year. And Yeah, like Peta mentioned, with the art house, we shows to put a specific focus on Galisian cinema with endless night, which honestly is my second favorite of all of the films nominated. It's all the films that most people didn't like or other. It's will into films that split people down the middle, with those were inclite the art house and loving it and those who didn't just falling completely, completely off, and it's just another thing that's really just a journey into night and looking into Franco era fascism. With all of these Temi we geting neets, but following one character and it's once again beautiful. You also have hire will come from Galicia, stunning and meditative and a just these, these films and the other films from Galicia you haven't didn't get to support, to really get featured. I think there's something really special happening there, to the point that I almost like an episode of its own, just exploring what's going on there and just to also shout out of scare of our code there. That's essentially experience like us, completely totally visceral sensory experience through night. Wonderful, absolutely wonderful, and just to shut out to all the other states. They're really well balanced. This lacy I set up for Asia, Latin America and Europe are all from different countries, they're all in different styles. It really feels like you managed to make each slate live and breathe and I'm just so proud of the workmanship with in to make that possible. And I really hope that anyone listening to this in real time, in November or early December, two thousand and twenty one will take the trip to ICM Forumcom we will have an entire set of thread set up, one thread for each late where people will be discussing these films, and this based on the atmosphere last there. I can't wait to see just people unpacked and talk about the share their love for these films, and I'm really sorry we couldn't dive into the other slates deeper. All of them the server more focus. All of these films to sure to be shouted out. For instance, there's petty and the euroslate. This was not the one that is really floor the programmers. Every film in every slate has something special about them. Every film and all this let's have a lot of programmers putting strong support behind them as and pointing out the thesa films that people really should be seeing. Obviously you can pick in match. There's no requirement to see every film from any of the slates. Initially will present the films with a short description. We will help you find them in terms of purchasing them and online shops, on online streaming service, etc. So that you're able to see all of these films, because all the requirements to be part of it is that they are actually accessible. So do go to ICM Forumcom, join the conversation, watch these films. You will not regret that. This is just an incredible incredible selection. The festival kicks off on the fifteen of November and want end until the thirteen of December, and of course it will happen again next year and the year after and just continue thread stay up as well. So if these films excite you, just come on over and join in on the firm. Thank you so much for listening and joance again soon. You have been listening to talking images, official podcast of ICM for umscom.

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