Krzysztof Kieslowski’s Three Colors, Gavin O’Connor’s Warrior
Sacha Baron Cohen’s The Dictator; Emad Brunat and Guy Davidi’s 5 Broken Cameras
Hirikazu Kore-eda’s I Wish, Nanni Moretti’s We Have a Pope, Shirley Clarke’s The Connection, Mia Hansen Love’s Goodbye First Love, Jennifer Baichwal’s Payback
Gary Ross's The Hunger Games, Terence Davies's The Deep Blue Sea.
Jafar Panahi’s This Is Not a Film; Kimi Takesue’s Where Are You Taking Me?; Manfred Kirchheimer’s Art Is…The Permanent Revolution
George Lucas’s Red Tails, Agnieszka Holland’s In Darkness.
Stephen Daldry’s Extremely Loud and Incredibly Close, Wim Wenders’s Pina.
Martin Scorsese’s Hugo.
Why does Errol Morris cling to a model of documentary photography eighty years out of date?
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José Luis Guerín’s In the City of Sylvia, Tanya Hamilton’s Night Catches Us, Martin Scorsese’s New York, New York.


