Film Review: Wind River 

Wind River is a brutal, gripping thriller based around true events. It’s hard to watch at times, but the writing and acting keep you riveted and grounded. US Fish and Wildlife Agent Corey Lambert (Jeremy Renner) and FBI Agent Jane Banner (Elizabeth Olsen) investigate the death and apparent murder of a girl on the Wind River Indian Reservation in Wyoming. This is a film whose message is necessary for people to see, difficult as it is.

Beyond this point, I’ll delve into some spoilers, just because the point of this film is so important.

The tale told here by Taylor Sheridan (writer of Sicario and Hell or High Water–both excellent films) is one that needs to be told. Sheridan adds his voice to the mounting number of calls for justice for unheard women, in this case Native American women–alongside works like Longmire, or The Millennium Trilogy by Stieg Larsson. This is an intensely disturbing film at times, though not for its over the top gore or excessive violence, which other films have depicting in more graphic detail, but for its reality.

Wind River tells the tale of a young Arapaho woman in the wrong place at the wrong time. She’s not even with the wrong guy–Jon Bernthal makes a memorable side appearance as a good guy (for once!) who tries desperately to protect the woman he loves and wants to run off into the sunset with from a bunch of drunk contractors who took a horrific opportunity when it came.

This film depicts the darkness in men’s hearts and the depths of depravity to which they can descend, unplanned, at a moment’s notice. There is no vast, Dr. Evil-led conspiracy here. No drug cartel is using and squashing the people below it. The Hand is not waiting to unleash Hell on Hell’s Kitchen and New York City. This is a simple story of the women who go missing on Indian Reservations, with no one to hear their cries or search for them.

I have two stylistic complaints to accompany this brilliant film, which is certainly an Oscar contender.

Taylor Sheridan wrote and directed this film, and his writing has been lauded for both Sicario and Hell or High Water, which was nominated for Best Original Screenplay. His directing, however, is still a bit of a work in progress. His last directed film was a 2011 Horror film called Vile (which looks like a Saw knockoff) and, to be fair, I’ve not seen it. However, Wind River was uneven in its atmosphere. It wanted the touch of Denis Villeneuve to bolster the mood. Wind River depicts blizzards and harsh country, but I don’t feel the atmosphere. Some slow-moving drone shots would have helped, or a stronger score. One of the best shots would be a helicopter shot flying over a ridge and up to the Oil Camp where the climax of the film takes place–more of that would do well.

My last critique is that Renner should not have been white. Don’t get me wrong, both Jeremy Renner and Elizabeth Olsen do amazing jobs here–Olsen in particular, could be up for a nomination. And yet, Renner is married to an Arapaho woman (Julia Jones, from Longmire and Twilight, along with most of the other Native American/First Nations actors here–it’s almost a reunion, highlighting that Hollywood is drawing from a shallow pool of actors) and has a son and has lost a daughter (in an eerily similar way to the girl at the center of this mystery). He’s a hunter and tracker and speaks with deep knowledge of Reservation life, going as far at one point as discussing “My family’s people” being forced into reservations. I don’t know why he was not played by a Native American man. Having Elizabeth Olsen be the only non-Native American and seeing things from her perspective how the reservations are criminally understaffed and ignored would make such a strong impact. In fact, there was a point at which she nearly ignores everything the reservation police chief (Graham Greene) is saying and turns to the only other white guy to get his input. That’s only a short moment, but it was noticeable.

This doesn’t mean Sheridan failed as a director–far from it. In fact, this film has one of the most tense standoffs ever. You can feel it develop and build until the climax. When Olsen gets to the Oil rig, along with the police chief and their meager backup, they’re greeted warmly by the security there, and as they walk toward the trailer of the suspect, they realize they’re being flanked by the security contractors. You see it happening, and you feel uneasy, and then they call attention to it and all hell breaks loose with a sudden force that leaves you shell shocked–Sheridan definitely took notes from Denis Villeneuve on this one, as it’s reminiscent of the early scenes in Sicario.

In the end, this is a film that people need to see, about a subject that demands discussion. I would be surprised if this didn’t show up on year’s best lists or on award nominations.

Film Review: Logan Lucky

Logan Lucky is more than just hillbilly Ocean’s 11 (or Oceans 7-11, as the film calls itself), though it is that, too. It’s actually a touching story about a down-on-their-luck West Virginian family who decides to rob the Charlotte Motor Speedway. 

The cast of characters is memorable, led by Jimmy (Channing Tatum) and Clyde Logan (Adam Driver) and their sister Mellie (Riley Keough). There’s no traditional antagonist (the closest we get is Seth MacFarlane, as a gigantic tool), except the apparently notorious bad luck of the Logan clan. I really enjoyed the film and the chemistry between the cast, and was surprisingly moved by a scene between Jimmy and his daughter. Daniel Craig is a revelation as a jailbird explosives expert with a plethora of hilarious moments and a spot on accent. My main complaint is that Hillary Swank was entirely underused—she’s almost an afterthought, barely used to underscore the quiet brilliance of the brothers’ plot. 

See this movie with the biggest crowd you can; get ready to laugh and try to figure out Steven Soderbergh’s master plan (the mystery even extends to the unknown writer of the film!). 

Film Review: Unacknowledged 

Unacknowledged (directed by Mika Mazzola) wants to stand up next to Citizenfour, but it just isn’t in the same league. There’s a lot of compelling ideas and evidence presented by Dr. Steven Greer, but there’s also a lot of ranting from the people he interviews. There’s not enough of a narrative to propel everything forward. It needed a throughline other than “EVERYONE IS LYING TO US ALL THE TIME EVEN THOUGH THEY SAY THEY’RE NOT!”

That said, do some googling as you watch and you’ll find some eyebrow-raising things (the monoliths on Mars and Phobos, as well as many of the documented UFO encounters they mention). I’m not a dyed in the wool skeptic, so I was ready to listen. I just was yearning for a cohesive narrative. I want to believe, after all. 

Film Review: Okja

I don’t exactly know how to feel after seeing Okja. It’s weird and beautiful and crazy and touching and funny and disgusting and hundreds of other things—all at once. These disparate elements are generally balanced into a biting, savage satire, though at times it’s a bit more uneven than it should be. 

The performances are all incredibly strong, with some (Jake Gyllenhaal and Tilda Swinton) being a bit overpowering. At its heart is the relationship between Mija and Okja, and if you keep your eye on that, this will be a satisfying film. 

Top 10 Reads of 2016

The 2016 year brought with it many, many changes for me. I moved–internationally, back home to the United States after four years abroad–and I had an intense, hectic end to that time overseas. I don’t love change. So, when change comes as it always does, I like to retreat into the warm embrace of familiar books. To wit, 2016 was filled with rereads (some following rewatches, such as a full Star Trek: The Next Generation and Star Trek: Deep Space Nine rewatch). However, included here are no rereads, only new ones.

One of my goals for the year, which I partially succeeded in, was starting to dive into major Science Fiction and Fantasy series which I’d only read about but knew were influential: Robin Hobb’s Farseer trilogy, David Eddings’ The Belgariad (which you won’t find on this list), and Terry Brooks’ Shannara books, for example. I also attempted to dig deeper into The Wheel of Time series (which has taken four years to get as far as I have) and The Expanse books (of which I read four this year). Obviously, I also read as many of Brandon Sanderson’s Cosmere books as I could, including the commentaries within Arcanum Unbounded.

In 2017, I hope to build upon my goal: adding to the Farseer books, maybe (but not likely) finishing The Wheel of Time, starting Michael Moorcock’s Elric series, as well as L.E. Modesitt’s Recluce books. Of course, other books will wheedle their way in, but I’m OK with that. I’m just hoping to really dig into the major influential Fantasy and Science Fiction texts

So, here goes: my Top 10 Reads of 2016.

1. Aurora by Kim Stanley Robinson

Aurora was easily my favorite read of 2016. It presents a common enough story–humanity’s attempt to colonize another planet–in a fresh way. It’s more about the journey than the arrival, but it speaks about humanity in an honest manner, understanding and presenting our foibles in a clear way. Even more, its narration is executed uniquely, though I can’t speak more directly about that without spoilers. Suffice it to say, the point of view and the subsequent perspective is handily worth the price of admission.

2. Cibola Burn by James S.A. Corey

It’s rare for the fourth book in a series to be the best. I know I’m likely not in the majority of reviewers who think that, but what I appreciate about this entry in The Expanse series is the tight, narrow focus of the storytelling. This is space opera, yet after literally expanding all too widely the universe of The Expanse in Abaddon’s Gate (book 3 in the series), they have almost a locked-room (more like a locked-planet) story on their hands in Cibola Burn. I read this in almost one sitting–you should do the same.

3. Assassin’s Apprentice by Robin Hobb

One of the Fantasy subgenres I particularly appreciate is the David Copperfield-esque narrative. Among these are The Name of the Wind and The Lies of Locke Lamora (which you’ll notice is among the top ten here). I like these because it provides shifting perspectives of whichever world the author has built: from childhood to young adult to adulthood. Each of these points of view show the readers an in-depth revelry in every nook and cranny of the worlds in which our protagonists find themselves, and I relish it as well.

4. Nemesis Games by James S.A. Corey

Funnily enough, what made this such a great read was the opposite of Cibola Burn: rather than the tight focus on the crew of the Rocicante in one isolated location, we see them split apart across the solar system, each one dealing with his or her past. And obviously some explosive brilliance occurs.

5. Fall of Giants by Ken Follett

This historian fiction doorstopper of a novel is Downton Abbey meets A Song of Ice and Fire. This was not a newly published novel, yet it was one that has fascinated me for quite awhile. I read Fall of Giants while on a short term missions trip to Borneo, and I was captivated throughout. The prose is frank, nowhere near the poetry of George R.R. Martin, and the scope is world-wide. It’s the first book in The Century Trilogy. There is a slight content warning; it’s not pervasive, but there are a few scenes of sexuality.

6. The Lies of Locke Lamora by Scott Lynch

Like Assassin’s Apprentice and The Name of the Wind, the world Scott Lynch created is immersive and deep and a pleasure to explore. I particularly enjoyed the con artistry and the italian-leaning world-building aesthetic. I look forward to reading the rest of this series,

7. Perfect State by Brandon Sanderson

This is another year in which I plowed through Brandon Sanderson—this time it was his short(ish) fiction set in his Cosmere. This felt wildly different from the rest of his stories in so many ways, and it left me wanting to read more from this world. It’s about the biggest, highest stakes date on which God-Emperor Kairominas has ever gone.

8. Poetics by Aristotle

I reread this in preparation for a class I’m teaching this year, and it stimulated great discussions there. What I realized, however, is that this was missing from my MA in Literature. At no point was this essential text about the creation of literary criticism included in a curriculum about literary criticism. That being said, I got a great deal out of this, and it will be required reading in any literature class I’ll teach.

9. The Elfstones of Shannara by Terry Brooks

This is the second entry into Terry Brooks’ Shannara universe, and it’s much more developed than the first. We’ve moved further into the timeline on Shannara and begin to understand the magic system much more. The story is also compelling and has much higher stakes. Worth it.

10. Shadows for Silence in the Forests of Hell by Brandon Sanderson

Originally included in the Dangerous Women anthology, edited by George R.R. Martin, this novella follows Silence Montane who must protect her family and not become a Shade. Once again, Sanderson proves himself a head above everyone else. This may require multiple readings, but it’s worth it.

Some Reflections upon Star Trek


Because this year marks the 50th Anniversary of Star Trek, I’ve been making my way through the series and films, and even some of the books. I knew at the beginning of the year that, with my busy schedule, I wouldn’t be able to commit to an insane “all series and all films in a single year” challenge (though I’d have loved that). But with my summer a bit more free (or at least flexible), I started The Next Generation just to see how far I could get, and I binged like I never have before, plowing through the entirety of TNG in just about a month. I’ll move onto Deep Space Nine soon, after finishing the TNG films. With the school year starting, I’ll not be able to go as quickly through DS9, but I still plan to try. And after that will come Voyager, and after that Enterprise–I’m excited to continue this trek.

I grew up watching Star Trek. It’s probably been the most influential aspects of pop culture for me (of course followed closely by The Lord of the RingsStar Wars, and Harry Potter). But Star Trek has been with me the longest, a fast and reliable friend. I’ve journeyed countless times with the crews of the starships Enterprise, most often with Captain Kirk and his crew, but often enough with Jean-Luc Picard.

Star Trek: The Next Generation is almost exactly one year younger than me–our birthdays are both in September–and my father has been a fan of The Original Series since before syndication, collecting the Bantam and Pocket Book novels and novelizations, all of which became my reading material growing up. Even more, he subscribed to a VHS-a-month club which sent us a new videocassette with two episodes of The Original Series on it. Because of his fandom, the VHS tapes and books on the shelf, I was inundated from birth. I didn’t stand a chance. I’m not saying I remember watching the TNG premiere, but I might as well have, because I was there from the beginning and right through until the end.

Only once have I gone chronologically through Deep Space Nine (we didn’t watch it as much when I was a kid, because they didn’t do as much exploring as Picard’s Enterprise did), though I have regularly caught episodes enough to have seen most of them two or three times. I clearly remember watching Voyager‘s premiere: there was a storm that day which messed up the TV signal, and I was furious because who knew when it would be on again. Likewise, I’ve watched through Voyager only once chronologically on DVD, though during its original run I recorded as much as I could on used-and-reused VHS tapes, which I horded and watched again and again, though never really in a cohesive order. It wasn’t until college where my local library’s DVD collected brought me a full rewatch of each series.

The first time I ever tried my hand at creative writing was Star Trek fan fiction, somewhere around the age of ten. I produced (bad) fan art, long before DeviantArt was a thing. I read and reread the books (many of which I inherited from my father, who introduced me to Star Trek), pored over technical manuals, the compendiums, the Encyclopedia. The first websites I remember going to, early in the 1990s, were Star Trek fan sites, with people in chat rooms and message boards creating their own crews, and role-playing or proto-LARPing. When the Next Generation movies came out I remember going to the films’ websites, waiting impatiently for a poor-quality video to load at a glacial pace, hoping for a glimpse of the new Enterprise-E, or just seeing the cast I adored in uniform once again.

I endlessly played make believe with action figures and props from each of the incarnations, coercing my friends (and, more reluctantly, my brother and sister) into both reenacting missions from the series and then creating our own. I did not keep my action figures in their packages (only a little to my current-self’s chagrin)–they were well played with, their batteries constantly wearing out, and when they did, I provided the much more varied sound effects.

There are bad episodes of Star Trek out there: “Spock’s Brain” and “The Turnabout Intruder” from The Original Series, “Code of Honor” and “Genesis” from The Next Generation, Deep Space Nine’s “The Emperor’s New Cloak” and “Move Along Home,” Voyager’s  “Threshold” or “The Thaw,” and from Enterprise “Two Days and Two Nights” and “A Night in Sickbay.” Other people will have other episodes on a “worst of” list. Yet for every poor episode or eye-rolling moment (and there are many), there’s exponential redemption in some of the best Science Fiction on television: “The Best of Both Worlds,” “All Good Things,” “The Inner Light,” “Trials and Tribble-ations,” “The Way of the Warrior,” “Year of Hell,” “Blink of an Eye,” “Carbon Creek” or “Regeneration.” I know some will dispute this list, and that’s fine.

Good Star Trek is science fiction at its best. Sometimes its just fun technobabble (oh, those flighty tachyons and the hijinks they get up to), and sometimes its an exploration of humanity, of our nature, of the great things science can do–or the treachery to which over-dependence on technology can lead.

What I’ve always loved about Star Trek is the idealism, the code of ethics they pursue with each and every mission. They fail at times, yes, but they pursue some greater good throughout each series, striving to stand for something. During the turbulent 1960s they subtly yet powerfully advocated for racial tolerance, dealt with the futility of the Cold war in the 1980s, and told tall tales of great themes that would make Shakespeare proud. They struggle (and often fail) with relativism, often allowing beliefs to stand even when they are wrong, all in the name of tolerance. Quite often, tolerance is equated with acceptance or endorsement–and yet time and time again, a standard of Right is maintained.

This is why I watch Star Trek. As we move into this series’ 51st year and beyond, I hope that Star Trek‘s roots are maintained. We’re about to have a new series: I say push boundaries, say new things, go new places. But, stay with what is Right. I hope the more serialized nature of Discovery will tell brilliant stories of that Final Frontier. However, Star Trek does not need to be Breaking Bad. We don’t need anti-heroes and dark, brooding shows (though of course there is an excellent place for that in today’s TV canon). We need inspiration in our pop culture, a return to optimism, to pursuing what is right and good, to taking us on exciting and fun adventures, to hope.

Oscars 2016: Predictions

This has been a crazy year. We had planned another series of posts like last year’s, detailing each of the Oscar nominees and our predictions, but time got away from us, as it is wont to do. That being said, it has also been a crazy year for film. So, this will be a long read, but it’s one that has been on my mind for a long while now. And one that I’ve been looking forward to writing. I will offer brief thoughts (or maybe not so brief, at times…) on the films in each of the big categories. (Sorry, short films), then who I predict Will Win and then who Should Win. The Should win category may bring in films I believe should have been nominated or actors who should have been tapped by the Academy, or just the ones I think should win based on the nominations.


The Big Short

Bridge of Spies


Mad Max: Fury Road

The Martian

The Revenant



Will Win: Mad Max: Fury Road

Should Win: Room

This is a crowded category, as it has been for awhile. Each one of these films deserve its spot at the top, and they all got there for widely disparate reasons. I could make arguments for each one, except maybe The Big Short, which maybe was nominated for the sheer audacity of making a non-boring film about the housing bubble. Bridge of Spies is a long-awaited reminder of Steven Spielberg’s greatness, and who could fail when pairing a Cold War legal grilled with Tom Hanks? Brooklyn, penned by Nick Hornby and starring the brilliant Saoirse Ronan, is just solid and good and beautiful, a classic from the start. Mad Max: Fury Road is the crowd favorite, blowing the doors off of all expectations that anyone had, though I was slightly underwhelmed (maybe it was all the hype?). My favorite film of the year was The Martian, for sheer rewatchability and utter excellence, through and through. The second most likely film to take the Best Picture is The Revenant, which is an excellent movie, constructed and executed with brilliance; if I’m choosing between the two, The Revenant will win over Mad Max, but as we know the Academy doesn’t choose back to back winners.  Spotlight, for its subject matter echoing All the President’s Men, cries out for acknowledgement for the justice they sought. Ultimately, hands down, Room should win for sheer power and heart-wrenching storytelling and acting. 


The Big Short

Mad Max: Fury Road

The Revenant



Will Win: Mad Max: Fury Road – George Miller

Should Win: The Revenant – Alejandro Iñárritu

Again, and not for the last time, we are torn between Mad Max and The Revenant. Both of these films demonstrate the power of the director’s will, with Iñárritu’s Fitzcarraldo-like wilderness epic and Miller’s resurrection and transcendence of a cult-franchise, blowing it into the mainstream and redefining the action genre. Both deserve this win, yet because of Iñárritu’s previous victory, his chances are low here.


Bryan Cranston, Trumbo

Matt Damon, The Martian

Leonardo DiCaprio, The Revenant

Michael Fassbender, Steve Jobs

Eddie Redmayne, The Danish Girl

Will Win: Leonardo DiCaprio

Should Win: Leonardo DiCaprio

I mean, if Leonardo DiCaprio doesn’t win this, I think the Internet will burn down. He put forth an astonishing performance, putting everything physically (literally) possible into this role, and he fully deserves it. On the other hand, Matt Damon and Michael Fassbender can both hold their own. If it wasn’t for that bison liver…


Cate Blanchett, Carol

Brie Larson, Room

Jennifer Lawrence, Joy

Charlotte Rampling, 45 Years

Saoirse Ronan, Brooklyn

Will Win: Brie Larson

Should Win: Brie Larson

I’m not going to spend time on the subpar performance that the normally brilliant Cate Blanchett gave with Carol, and Jennifer Lawrence’s perfectly good Joy. It’s all about Charlotte Rampling, Saoirse Ronan, and Brie Larson, each of whom handily deserve to take the win. 45 Years is led by Rampling’s complex portrayal of a woman during a troubling time in her marriage. Saoirse Ronan is honest and conflicted in the story of an immigrant girl trying to find her place in the world. And then Brie Larson steals it all as Ma, who must care for her son while trapped indefinitely in a room and deal with all the ramifications attached to that predicament.


Christian Bale, The Big Short

Tom Hardy, The Revenant

Mark Ruffalo, Spotlight

Mark Rylance, Bridge of Spies

Sylvester Stallone, Creed

Will Win: Sylvester Stallone

Should Win: Sylvester Stallone

Stallone brings with him all the weight of history as Rocky Balboa at the end of his career, without ever feeling like a gimmick or pandering. It works completely, and Stallone outshines his competition, followed closely by Tom Hardy (whoever thought anyone could speak less clearly than Rocky?) and Mark Rylance.


Jennifer Jason Leigh, The Hateful Eight

Rooney Mara, Carol

Rachel McAdams, Spotlight

Alicia Vikander, The Danish Girl

Kate Winslet, Steve Jobs

Will Win: Rooney Mara

Should Win: Jennifer Jason Leigh

Despite the fact that this is the year of Alicia Vikander, Rooney Mara seems to be a lock for Supporting Actress in the overrated Carol, though staring seems the key component of that film. Kate Winslet did a great job, arguably the best of the bunch here, yet Jennifer Jason  Leigh  cackled her way to the top of the pile as. The only woman among a group of other burly, manly men and holding her own with memorable ease.


The Big Short



The Martian


Will Win: Room

Should Win: The Martian

Both of these films are excellent adaptations of their source material, and while Room maintains the emotional impact of the book, The Martian does this and more. Instead of falling into the bleak territory of Castaway, it keeps the drama of it while keeping the essential humor from the novel.


Bridge of Spies

Ex Machina

Inside Out


Straight Outta Compton

Will Win: Straight Outta Compton

Should Win: Ex Machina

Following the recent controversy, Straight Outta Compton seems a shoe-in, and it certainly deserves the honor. However, Ex Machina is a truly excellent piece of science fiction mixed with a locked room psychological thriller.



Boy and the World

Inside Out

Shaun the Sheep Movie

When Marnie Was There

Will Win: Inside Out 

Should Win: Inside Out



Cartel Land

The Look of Silence

What Happened, Miss Simone?

Winter on Fire: Ukraine’s Fight for Freedom

Will Win: Amy

Should Win: Cartel Land



The Hateful Eight

Mad Max: Fury Road

The Revenant


Will Win: Mad Max: Fury Road

Should Win: The Revenant

Once again, another face off between these two films, and the most common reason for Mad Max‘s inevitable victory over The Revenant is the recent win by its director.  Both films have distinctive visual styles, but Iñárritu’s challenge to only use natural light makes his feat all the more impressive.  


The Big Short

Mad Max: Fury Road

The Revenant


Star Wars: The Force Awakens

Will Win: Mad Max: Fury Road

Should Win: Mad Max: Fury Road


Embrace of the Serpent


Son of Saul


A War

Will Win: Son of Saul

Should Win: Son of Saul


Bridge of Spies


The Hateful Eight


Star Wars: The Force Awakens

Will Win: The Hateful Eight

Should Win: Star Wars: The Force Awakens

Quentin Tarantino’s films rank among my favorite, particularly for their distinctive music. However, this holds no candle to  John Williams’ long-awaited Star Wars or Carter Burwell’s haunting score to Carol (the only good part of the film). Burwell’s deserves a place in the Should Win column here, but my money is on Star Wars due to  a combination of nostalgia and brilliance.


“Earned It,” Fifty Shades of Grey

“Manta Ray,” Racing Extinction

“Simple Song #3,” Youth

“Til It Happens To You,” The Hunting Ground

“Writing’s On The Wall,” Spectre

Will Win: “Til It Happens To You,” The Hunting Ground

Should Win: “See You Again” from Furious 7, though of the nominees, Sam Smith earned it. 




The Danish Girl

Mad Max: Fury Road

The Revenant

Will Win: Mad Max: Fury Road

Should Win: Cinderella


Mad Max: Fury Road

The 100-Year-Old Man Who Climbed out the Window and Disappeared

The Revenant

Will Win: Mad Max: Fury Road

Should Win: Mad Max: Fury Road


Bridge of Spies

The Danish Girl

Mad Max: Fury Road

The Martian

Will Win: Bridge of Spies

Should Win: The Martian


Mad Max: Fury Road

The Martian

The Revenant


Star Wars: The Force Awakens

Will Win: Mad Max: Fury Road

Should Win: Mad Max: Fury Road


Bridge of Spies

Mad Max: Fury Road

The Martian

The Revenant

Star Wars: The Force Awakens

Will Win: Star Wars: The Force Awakens

Should Win: Star Wars: The Force Awakens


Bear Story


Sanjay’s Super Team

We Can’t Live without Cosmos

World of Tomorrow

Will Win: World of Tomorrow

Should Win: World. of Tomorrow


Body Team 12

Chau, beyond the Lines

Claude Lanzmann: Spectres of the Shoah

A Girl in the River: The Price of Forgiveness 

Last Day of Freedom

Will Win: Body Team 12

Should Win: Body Team 12


Ave Maria

Day One

Everything Will Be Okay (Alles Wird Gut)



Will Win: Shok

Should Win: Shok