I say solid, but not great, because I’m not sure if I can actually state it was a great year for me, but we’ll get into that later. The 37th Telluride Film Festival has come to a close after a rather quick four days, and even though I didn’t get to see as many films as I wanted, I still had a wonderful time. I love this festival, I love coming to Colorado and traveling into the mountains to see films with other cinephiles, and most of all I love the people who frequent this fest. As the first stop in my massive 30-day festival tour, it’s a honestly much quieter way of kicking off the awards season, but boy was it a hell of a year for awards caliber films.

Just like last year, I’m starting a big list of films that I’ve seen on this festival trip and will be providing an instant reaction to each to give you guys a quick look at my thoughts on anything I see (since I won’t be able to review everything). My top highlights from this fest are Mark Romanek’s Never Let Me Go and Darren Aronofsky’s Black Swan, and I’m looking forward to seeing Danny Boyle’s 127 Hours again, possibly up in Toronto. Last night I caught two wonderful films to end the fest: Sylvain Chomet’s The Illusionist (which I reviewed) and Charles Ferguson’s economy documentary Inside Job, which was riveting, fascinating, and infuriating, but a doc I highly recommend. It’s not about the quantity, but rather the quality of what I see.

One of many things that keeps me coming back every year is the people. Not only did I get to meet Aron Ralston, Mark Romanek and Andrew Garfield, but it’s the attendees, too – film lovers young and old. At one show I talked with the husband and wife sitting next to me who have been attending the fest for 30 years, which is actually longer than I’ve even been alive. There are a few first-timers who always have a smile on their face, but the fest is mostly full of return attendees who come back every year to discover great films, meet wonderful people, and enjoy the mountain air. I know I’ll be back every year for those same reasons.

This year I was only able to catch six films (listed below), which is a bit lower than I was hoping, but that’s partially my own fault (it’s hard to keep up with work and screenings). But I do have to complain about the schedule being a bit too tightly packed, as there were numerous times where I’d try to make it to another film but wouldn’t have the time to do so because of other engagements that all too often conflicted. I hope they can tweak the schedule a bit next year to allow for more flexibility, but of course it’s also my own issue to fix. The two big ones that I heard very good buzz about but missed seeing were Peter Weir’s The Way Back and Tom Hooper’s The King’s Speech, which is getting major Oscar buzz coming out of the fest.

I guess the reason why I say it was a solid year is because the films I did get to see I thoroughly enjoyed, but besides that I’m not sure I feel like the line-up was strong enough for me to really regret missing that much besides those other two aforementioned films. As I mentioned briefly in the kick off post, a handful of the movies were holdovers from Cannes (and I loved Biutiful, so that’s another good pick) most of which are either just not something I’m interested in or are, to be completely honest, fairly forgettable and unexciting films. I wanted more but this is what we got this year and I’m satisfied, but not amazed, leaving Telluride.

As one fest comes to a close, the next one is already starting. I’m currently catching a series of flights from the mountains of Colorado up to Canada where the Toronto International Film Festival will be starting in just a few days. The good news is that The King’s Speech is also playing up there along with a whole bunch of other films I’m considerably excited about seeing. Its been a great start so far and I’m expecting it to only get better, so stay tuned for the latest reactions, reviews, interviews and plenty more right here on FS.net.

Note: From now until October 1st I will be keeping a running tally on all the films I’ve seen across all three of the film festivals. You can find this list below updated in every new blog post, with links to any reviews.

Telluride Film Festival:
1. Never Let Me Go (dir. Mark Romanek) – Loved It
2. 127 Hours (dir. Danny Boyle) – Liked It
3. Of Gods and Men (dir. Xavier Beauvois) – Just Okay
4. Black Swan (dir. Darren Aronofsky) – Loved It
5. The Illusionist (dir. Sylvain Chomet) – Loved It
6. Inside Job (dir. Charles Ferguson) – Loved It

With the start of the hype machine for Danny Boyle’s new film 127 Hours and a starring role in franchise prequel Rise of the Apes, actor James Franco is a busy guy. Outside of the acting realm, Franco has also been promoting a documentary that he made himself as an NYU film student way back in 2008. Saturday Night is the first in-depth, behind-the-scenes documentary chronicling the production of an episode of the staple sketch comedy series “Saturday Night Live.” Recently the doc has been making the festival run but Franco recently told Risky Biz that Oscillioscope picked it up for a limited release in February of 2011.

The project comes as a result of an assignment Franco had to make a 7-minute observational documentary about a person “to shape a character.” Originally he had his eyes set on artist Dan Cohen, but when plans fell through, his then-recent hosting stint on “Saturday Night Live” inspired him to shift his focus to cast member Bill Hader. The access that Franco was given knocks other previous documentary attempts out of the water as he was able to capture rare footage including parts of the production process that the cast had never even seen. Shot during last season’s episode with host John Malkovich, the doc reveals cast members changing between sketches, table reads of various sketches, and even an extremely rare look inside the office of executive producer Lorne Michaels as he selects the sketches that make it to air. This sounds fantastic!

As a huge fan of comedy and Saturday Night Live, this documentary has me salivating at the mouth. Though since the film is only getting a limited release, I’ll likely have to wait until it hits DVD to finally partake in a viewing (unless Oscillioscope would like to us a screener). On a related note, I love that an established actor like Franco is taking the time to go back to NYU film school. It really shows his dedication to the craft and a desire to learn about all the facets of filmmaking outside of acting. Definitely looking forward to any project he has on the horizon! In the meantime, we’ll keep you updated on the latest with this doc, so stay tuned!

It looks like all that action and ass-kicking in Taken might have knocked a screw loose in the head of Liam Neeson. After having some fun in the surprise action hit, Neeson seems to have taken a liking to senseless action with recent roles in blockbusters like A-Team and Clash of the Titans. Now it looks like we can add another one to the list as Deadline reports Neeson has joined the ranks of Peter Berg’s nautical board game adaptation Battleship. With a strange cast that already includes Taylor Kitsch, Alexander Skarsgaard and chart-topping singer Rihanna, many are already anticipating this will sink at the summer 2012 box office.

As we discussed back in August, this film is a huge risk for Universal as they’re dropping roughly over $200 million on it. That’s a hell of an undertaking for a studio whose only movie that has exceeded any box office expectations this year (so far) was Despicable Me (though Scott Pilgrim vs. The World should’ve succeeded as well). Not only is there a risk of a tired audience sick of toy and board game adaptations making their way to theaters, but I don’t think there are many people who believe that Battleship can be turned into a decent summer blockbuster. Even if it does turn out well, it’s ridiculous that it couldn’t stand on its own without the brand recognition from the board game, but of course that’s Hollywood (and specifically Universal) for you.

The project is now shooting in Hawaii and will see Nesson playing Admiral Shane, the Naval officer whose daughter (played by Brooklyn Decker) is engaged to a young naval officer (Kitsch). Meanwhile, Skarsgaard plays Kitsch’s older brother, while Rihanna plays Kitsch’s crew mate and a weapons specialist (yeah, that’s believable). All of the characters have some role in a story that follows an international fleet of battleships coming together to fight a water-bound armada of an otherworldly origin. As far as Neeson’s casting goes, I wish he would take on more roles like his turns in Chloe or Five Minutes in Heaven rather than yet another ridiculous action film like this. Are you guys any more interested with Liam Neeson in this cast?

After Zombieland was a surprise hit back in 2009, director Ruben Fleischer had quite an array of projects to choose from for his next. Ultimately, the filmmaker turned down higher profile directing gigs like the next installment of the Mission Impossible franchise for next year’s action comedy 30 Minutes or Less once again starring Jesse Eisenberg (we will have a report from the set when we’re allowed to release it sometime next year). We’ve heard rumblings about a Zombieland 2, so is there a chance Fleischer will go for a three-peat collaboration with Eisenberg for his next? He hasn’t ruled that out just yet, but nothing is certain. Read on!

ShockTillYouDrop was also visiting the set of 30 Minutes or Less and they got Fleischer to open up about the potential for a sequel and a couple of other projects he might have coming up his sleeve. The good news for Zombieland 2 is that original writers Rhett Reese and Paul Wernick have completed a script and turned it into Sony already. Fleischer says: “I mean, it’s an early draft and we have plenty more to do to work on it, but I think it’s going to be amazing, I’m really excited about it.” However, his passion for the sequel doesn’t necessarily make it his absolute next, which makes sense because he’s becoming a very popular director.

The director opened up a bit about two specific projects he’s thinking about adding to his resume. One we’ve heard about before, while the other one hasn’t been talked about yet, so check out what he says about those:

“I got a couple irons in the fire, so we’ll see, but I’d be psyched to do [Zombieland 2]. I have this buddy cop movie that I sold to DreamWorks that’s pretty cool that these guys Arnold and Poole are writing. There’s a movie that Mike White wrote called ‘Babe in the Woods,’ that’s a really cool script, so those kind of exist and I guess we’ll see what happens.”

I can only assume that the writers Fleischer is referring to are actually Mike Arnold and Chris Poole, two of the most popular writers without any actual screenplays produced yet. Although they’ve sold several ideas, none have actually gotten off the ground. The duo sold another comedy to DreamWorks back in 2008 called Home Schooled, but it doesn’t sound like that buddy cop comedy Fleischer mentioned has been publicized just yet. No matter what Fleischer ultimately chooses as his third project, I’ll definitely be excited for it, but I know even more people would be thrilled if it ends up being Zombieland 2. What do you want to see?

One of the most incredible and unforgettable experiences of the Telluride Film Festival was meeting and talking with Aron Ralston, the mountaineer whose real-life story is the basis of Danny Boyle’s riveting new thriller 127 Hours, which has lots of buzz coming out of the fest. I first met him at a party Fox Searchlight held one evening and the following morning, Peter Sciretta from SlashFilm and I interviewed him on video. When you see the film (watch the trailer) you’ll know why there’s just something so amazing about meeting the guy that actually went through all of that and it’s even more inspirational to hear from him personally.

Watch our video interview with the real-life Aron Ralston of Danny Boyle’s 127 Hours:

As a recap for anyone who doesn’t know, Ralston’s right hand was smashed under a boulder while hiking in Utah in 2003, and after surviving pinned there for over five days, he had to amputate his own arm to escape alive. If watching that interview doesn’t make you want to see 127 Hours, then I don’t think there’s anything else I can say or do to convince you. I was admittedly overly critical in my initial reaction to the film over the weekend, but after speaking with Ralston and Danny Boyle, as well as discussing the film further with Peter and other critics in town, I’ve warmed up to it and I can’t wait to see it again, as I expect to love it a lot more.

Fox Searchlight will be bringing Danny Boyle’s 127 Hours to limited theaters starting this November 5th.

Wow. Now I know who I’m going to be rooting for to win the Best Actress Oscar next year. I just stepped out of Black Swan, the latest movie from Darren Aronofsky (Pi, Requiem for a Dream, The Fountain, The Wrestler) up in Telluride, and it was phenomenal. I’m hesitant to really delve too much into a full-on review because this is only my initial reaction and I definitely need to see the film a second (or third) time to fully process everything in it, but I have to at least proclaim that it is a brilliant, psychologically intense film that takes the audience on a very operatic thrill ride. I truly believe Aronofsky has outdone himself once again.

Black Swan has been described by Aronofsky as a companion film to The Wrestler, and we wrote last week that both actually originated from one idea. Natalie Portman stars as Nina, a young aspiring ballet dancer who has been practicing tirelessly in hopes of winning the lead in director Thomas Leroy’s (played superbly by Vincent Cassel) newest production of Tchaikovsky’s ballet Swan Lake. Not only is she dealing with the immense stress of the production and her desire for perfection, but she lives with her retired ballet dancer and overbearing mother, all of which begins to take an extreme toll on her. She starts to see duplicates of herself and begins to have odd, twisted visions – but is it real or is it all in her head? (I won’t answer that.)

What I think Aronofsky has achieved with Black Swan is a mesmerizing and utterly brilliant fusion of two performance mediums – theater (specifically ballet) and film – in an extraordinary way that I believe we’ve never seen before. And it might take repeat viewings for everyone to fully understand and fall completely into that fresh cinematic world that he’s created. It also builds over time, as we follow the story and Nina’s transformation, since she goes through quite a bit in preparing for the lead role as the Swan Queen; she’s great at dancing as the White Swan, but needs to be more seductive to dance the Black Swan role perfectly. While I was already into it from the beginning, it was the third act that truly pushed me over the edge and gave me a rush I haven’t experienced in a while.

It’s the combination of Natalie Portman’s remarkable performance, which I think deserves an Oscar, as well as Clint Mansell’s score, which was a phenomenal re-interpretation of Tchaikovsky’s Swan Lake music, that helped pull the film much further into that cinema-ballet world. The film itself could even actually be seen as a ballet, it’s that well-written and structured, and it leads to a conclusion as perfect as in The Wrestler. Even Mila Kunis, who plays a rival ballet dancer named Lilly, is better than she’s ever been before. And that scene with her and Portman you’ve probably heard so much about is totally worth seeing, and it’s only one of the many sexual motifs that are prevalent throughout Black Swan.

I can’t praise this film enough, and I can’t wait to watch it again. Even if anyone walks out a bit confused or emotionless the first time, let it soak in, see it again, give some extra time to process what you saw, and I’m sure it will grow on you. It’s sometimes dark, it’s often intense, but not too frightening (at least I thought). It’s a great psychological thriller and a wild ride, and I enjoyed every second. Aronofsky’s iconic hand-held shots are used frequently, but not to any disadvantage. Portman’s performance is unforgettable, Mansell’s score is wonderful, Darren’s direction is masterful, it’s a film that will stay with me for a long time. Bravo.

Alex’s Telluride Rating: 9.5 out of 10

I’m fighting with my own feelings. I love Danny Boyle and I admire everything he achieved in his newest film, 127 Hours, starring James Franco as the real-life mountaineer Aron Ralston, but I didn’t love the film. It’s great, but not amazing, in my honest and humble opinion, and I’m wrestling with why exactly I feel that way and why I didn’t get pulled into the film like I wanted to. In fact, my partner in crime Peter Sciretta and I recorded a video blog debating our feelings (which you can watch at the end), because he loved it and I had problems with it. It is a great film, but I think it just wasn’t exactly what I was hoping/expecting to see.

This is one of those true-life stories we’ve spoken about enough before, so we know what happens. Ralston was out hiking in Utah in 2003 and slipped down a crevasse, where a boulder fell on his right hand, pinning his entire arm. He desperately tried everything to escape, but ended up stuck there for over five days (a total of 127 hours, hence the title) with little food and little water. It’s an incredible story and I was fascinated to see this dramatization of what Ralston had to go through, but unlike Rodrigo Cortes’ Buried (another stuck-in-one-place, fighting-for-his-life kind of film), I never started sweating and feeling anxious like I know I should’ve while watching him pinned for all that time. And since seeing the film a few hours ago, I’ve been thinking endlessly about why that was the case.

One of my own theories is that I’m inherently familiar with the outdoors. I grew up in Colorado, I’ve spent plenty of my life in the wild, never in a situation like this, but I guess I’m a little more used to it than most of the city-raised folk who will probably see this (just being honest). Coincidentally, I even grew up a few hours away from where Ralston was raised. I think the problem is that Danny Boyle’s digital video, over-saturated style – that I normally love seeing (Slumdog Millionaire was one of my favorite films of 2008) – didn’t really work for me with a wilderness story like this. I think I wanted to see more of the realistic, less stylized shots than the very trippy, flashback-filled, split-screen looks that Boyle is so well known for. And I think maybe that’s what kept me at arms length (pun intended) from this.

Everyone is going to have a different experience watching this and based on the buzz I’m hearing coming from other people (including @slashfilm) who saw it today, most of them were a lot more captivated than I was. I’m not saying it’s a bad film by any means, it’s actually a great film, but I just couldn’t get into as much as I could Slumdog Millionaire or Buried and therefore I couldn’t love as much as either of those. I hate making comparisons, but my heart was racing during Buried, and it never was during 127 Hours. Boyle even admitted during the Q&A that he is an “urban filmmaker” (in style and sensibilities) who hates the outdoors and I think that really played against this time, at least with what I was hoping to see.

Then again, I’m not here to critique this because it wasn’t what I wanted, and I’m trying not to do that, but I can’t say I loved it for those exact reasons I mentioned above. My other complaint is that this really needed a proper, real score. I love A.R. Rahman (Slumdog’s soundtrack is one of my all-time favorites), but it didn’t work in this. It needed a more melodic, moody conventional score, but instead we get Rahman who sounds like he’s experimenting with random instruments throughout the whole thing. Some of the songs in it are good and work in context, but the score was another part that I felt needed a lot of work.

Additionally, James Franco does indeed knock it out of the park with this, and in short I can say that there was never a moment where it seemed like he was “acting”, it all felt genuine. He was a perfect choice for the role as well because he can play the range needed to portray Ralston, who is more wild, cocky and comedic than one might expect to see stuck in a situation like this, but Franco fits the bill and did a fantastic job.

I could go on and on talking about different elements that I loved and other elements that I didn’t like (there were some comedic moments and flashback moments that also pulled me out) but I think it’s best for me to just let everyone experience this movie on their own. However, I did debate with Peter (and you can read his glowing review of this film here) about all of those different elements in our video blog, which we recorded immediately after seeing the film up in the mountains in Telluride. I am anxious to revisit this film and you can be assured that I’ll be addressing it again when its released, because I have so much to say about it. But for now, check out the video below for more analysis and stay tuned for more of my coverage from Telluride.

Earlier tonight I watched my very first film of this 30-day festival tour, attending the world premiere of One Hour Photo director Mark Romanek’s newest film Never Let Me Go in Telluride. It’s based on the beloved novel by Kazuo Ishiguro and it’s kind of a period piece drama about a love triangle between three individuals growing up in England, but there is a lot more to it than just that. If you want to steer complete clear of any spoilers, then stop at the end of this paragraph, but I do want to say that I loved it. It’s a beautiful film, full of fantastic performances and incredibly moving and emotional. It’s not flawless, but it is a wonderful film.

Here’s where things get a little spoilerish, but not too much, because it’s key to watch this without knowing much about it (unless you’ve read the book). The storyline follows Kathy (Carey Mulligan), Tommy (Andrew Garfield) and Ruth (Keira Knightley) who are growing up in England in a boarding school called Hailsham in the late 1970’s. There’s a sci-fi element to it, which is part of the overall concept, but I won’t go into it any further. We watch as Tommy and Kathy, at around age 12, start to feel something for each, but then Ruth steals him away. Over the years we see the three together, Kathy still secretly pining for Tommy, but not to much avail. It’s a love triangle story, but with a conceptual twist, which as I stated earlier I won’t dare spoil.

There are many great elements to the film: Adam Kimmel’s very beautiful cinematography, Carey Mulligan’s phenomenal performance (she’s primarily the focus of the film), Rachel Portman’s mesmerizing score, Mark Romanek’s careful direction, even the concept and story overall. My only minor complaint is that it felt like it moved a bit too quickly, we didn’t get enough time with the three of them at each of their different ages. I would’ve actually been perfectly happy watching a longer version that extended each time period, as there was so much more I would’ve loved to see to build up the characters and the heart-wrenching story further.

It admittedly takes quite a bit for me to get fully emotionally invested in a film and its characters, but Never Let Me Go achieved that. I was sucked into the story and couldn’t let go myself, even believing the hope that was in the mind of the characters, despite realizing afterward that they wouldn’t have possibly reached the resulted I wanted to see anyway (sorry for being so vague about it). But despite these little nitpicks, I loved watching it, I was very emotionally affected, which is more impressive than anyone knows, and I now want to read Ishiguro’s book to further delve into the story. It’s a completely different film than One Hour Photo that Romanek developed with writer Alex Garland and Ishiguro, but it’s magnificent in all of its own ways.

Alex’s Telluride Rating: 9 out of 10

Okay, before anyone gets overly anxious about this, Paramount’s new take on Dune isn’t actually dead, but the Peter Berg version is – and that’s what this concept art is for. Earlier today, a bunch of concept art from two projects hit the web, but unfortunately it’s some beautiful concept art for two projects that are now dead in the water. The first set of art is from Pixar’s Newt, which we reported last May was canceled, supposedly because of Rango. Pixar’s own Facebook page put up a huge gallery. The second set is for Peter Berg’s Dune adaptation, with art from Jock, who posted a big gallery on his own website. Examples from both are below.

Click either concept art pieces below, one from each project, to be taken to movie sites with the full galleries.

Both of these look amazing, I’m actually quite sad the projects are dead. Newt was going to be about a newt who finds out he’s the only one of his kind left, but then finds a mate elsewhere, which also sounds similar to Blue Sky’s Rio. Beautiful art for that. And as for Dune, I’m still excited to see Pierre Morel’s take on the sci-fi epic, but I love all of Jock’s art. Those spice worms look badass and it just looks like it would’ve been pretty awesome. Except I’m not sure if the characters would’ve been a little bit too stylized. It’s interesting that we even get to see all this concept and, as I said before, unfortunate that both of these are no longer going to be made. But of course, Pixar has plenty more in the works, and a new Dune movie is still coming eventually.

If you haven’t seen yet, the Telluride Film Festival announced its line-up yesterday, and the fest officially kicks off today. I’m currently sitting in line at the Palm Theater, the local high school auditorium converted into a start-of-the-art cinema, waiting to see my first film of this year – Mark Romanek’s Never Let Me Go. The line-up this year has quite a few Cannes holdovers that the programmers decided to pull from that fest. At a press meeting earlier, they tried to claim that this year’s Cannes line-up was strong, but if you read my coverage, I definitely can’t agree. But at least one of my favorite flicks, Biutiful (read my review), is playing.

That photo above is of Peter from SlashFilm and me working at the local coffee shop earlier today, as taken by our new friend Curtis Walker (@curtiswalker). That’s one of the things I absolutely love about this place – the atmosphere, the people, the fact that it’s not a mainstream fest. Everyone is friendly, there’s a laid back attitude in the whole town, there’s no paparazzi, it’s a joy to be here. We met Curtis because he was happy to see other movie bloggers (which I am) here as well. There’s been some great articles written recently about how amazing this festival is, and I want to forward you guys to those write-ups: Eric Bialas has a great intro on Awards Daily, Pete Hammond has a great write-up on Deadline and Peter Sciretta’s intro is great, too.

I’ve added the full list of films that are officially showing at the festival below, but word is there’s going to be secret screenings of Danny Boyle’s 127 Hours and Darren Aronofsky’s Black Swan. I’m truly most excited to see those two films, but of course there’s great indies to be discovered in the rest of the line-up, and I’ll let you know if I come across anything truly spectacular (last year it was that animation documentary Waking Sleeping Beauty). I’ve also heard great things about Le Quattro Volte and Xavier Beauvois’ Of Gods and Men. I’m hoping to end this fest completely satisfied next Tuesday, and I’ll keep you updated this weekend.

And of course, at the very bottom is the official poster for this year’s festival, created by Pixar artist Ralph Eggleston, for your viewing pleasure. It’s a beautiful design well worth sharing with you guys. And finally, the 37th Telluride Film Festival is pleased to present the following new feature films to play in “The Show”:

» A LETTER TO ELIA (d. Martin Scorsese and Kent Jones, U.S., 2010)
» ANOTHER YEAR (d. Mike Leigh, U.K., 2010)
» BIUTIFUL (d. Alejandro González Iñárritu, Mexico, 2010)
» CARLOS (d. Olivier Assayas, France, 2010)
» CHICO AND RITA (d. Fernando Trueba, Javier Mariscal Spain-Cuba, 2010)
» THE FIRST GRADER (d. Justin Chadwick, U.K., 2010)
» THE FIRST MOVIE (d. Mark Cousins, U.K., 2009)
» HAPPY PEOPLE: A YEAR IN THE TAIGA (d. Dmitry Vasyukov with Werner Herzog, Germany, 2010)
» IF I WANT TO WHISTLE, I WHISTLE (d. Florin Serban, Romania, 2010)
» THE ILLUSIONIST (d. Sylvain Chomet, U.K., France, 2010)
» INCENDIES (d. Denis Villeneuve, Canada, 2010)
» INSIDE JOB (d. Charles Ferguson, U.S., 2010)
» THE KINGS SPEECH (d. Tom Hooper, U.K., 2010)
» LE QUATTRO VOLTE (d. Michelangelo Frammartino, Italy, 2010)
» NEVER LET ME GO (d. Mark Romanek, U.K./U.S., 2010)
» OF GODS AND MEN (d. Xavier Beauvois, France, 2010)
» OKA! AMERIKEE (d. Lavinia Currier, U.S.-Central African Republic, 2010)
» POETRY (d. Lee Chang-dong, Korea, 2010)
» PRECIOUS LIFE (d. Shlomi Eldar, Israel, 2010)
» THE PRINCESS OF MONTPENSIER (d. Bertrand Tavernier, France, 2010)
» TABLOID (d. Errol Morris, U.S., 2010)
» TAMARA DREWE (d. Stephen Frears, U.K., 2010)
» THE TENTH INNING (d. Ken Burns, Lynn Novick, U.S., 2010)
» THE WAY BACK (d. Peter Weir, U.K., 2010)