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A global cataclysm brings about the end of the world in 2012. (Source)

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The moment the train leaves the station without engineer ODD HORTEN (Bard Owe) aboard, he realizes that the path ahead is a journey without printed timetables and well-known stations. Horten has been forced to retire after 40 years of traveling a very stable rail, and the platform does not feel like a safe place anymore. His orderly, solitary existence is about to give way to a future of unlikely adventures and puzzling dilemmas: will Horten ever travel by plane? Will he finally sell his prized boat? How does Horten end up in a pair of women’s red high-heeled shoes? Will he survive a nighttime drive with a blindfolded man at the wheel? Proof positive that there is humor to be found in aging, and we don’t have to be elderly Norwegians to identify, laugh and embrace life in all its idiosyncratic splendor. O’HORTEN is Bent Hamer’s wonderfully skewed view of the human condition and gives us that somewhat absurdist vision with great warmth, a little melancholy and universal appeal. (Source)

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The moment the train leaves the station without train driver Odd Horten aboard, he realizes that the path ahead is a journey without printed timetabels and well-known stations. Horten has retired, and the platform does not feel like a safe place anymore. (Source)

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A man who travels accidentally back to the past and meets himself there. A naked girl in the midst of the forest. A weird guy with his face covered by a pink bandage. A disquieting mansion on the top of a hill. All of them pieces of an unpredictable jigsaw where terror, drama and suspense will lead to an unthinkable sort of crime. (Source)

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Lauded short film director Vigalondo makes his feature debut with this tense, unstoppable vision of science and natural law gone awry. A man who accidentally travels back into the past and meets himself. A naked girl in the midst of the forest. A mysterious stranger with his face wrapped in a pink bandage. A disquieting mansion on the top of a hill. All of them pieces of an unpredictable jigsaw puzzle where terror, drama and suspense will lead to an unthinkable sort of crime. Who’s the murdered? Who’s the victim? TIMECRIMES takes a bold, difficult premise and brings the rarely-tread time travel framework to pulse-pounding but intelligent new heights. (Source)

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Based on an autobiographical novel by Francois Begaudeau, a drama that follows the year in the life of a French schoolteacher working at a high-school in a tough neighborhood of Paris. Ethnicities, cultures and attitudes often clash in the classroom. As amusing and inspiring as the teenage students can be, their difficult behavior can still jeopardize any teacher’s enthusiasm for the low-paying job. Francois insists on an atmosphere of respect and diligence. Neither stuffy nor severe, his extravagant frankness often takes the students by surprise. But his classroom ethics are put to the test when his students begin to challenge his methods. (Source)

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12 characters. 12 truths. The story of 12 jurors discussing a verdict to pass on an 18 year old Chechen boy whether he is guilty of 1st degree murder of his step-father — an officer of the Russian army. The film thinks aloud about today;s life, about the need to hear the next of kin and help that person before its too late. The action of the picture unveils in one room — a gym adjusted for jury deliberations. (Source)

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A fragile, anxious boy, 12-year-old Oskar is regularly bullied by his stronger classmates but never strikes back. The lonely boy’s wish for a friend seems to come true when he meets Eli, also 12, who moves in next door to him with her father. A pale, serious young girl, she only comes out at night and doesn’t seem affected by the freezing temperatures. Coinciding with Eli’s arrival is a series of inexplicable disappearances and murders. One man is found tied to a tree, another frozen in the lake, a woman bitten in the neck. Blood seems to be the common denominator - and for an introverted boy like Oskar, who is fascinated by gruesome stories, it doesn’t take long before he figures out that Eli is a vampire. But by now a subtle romance has blossomed between Oskar and Eli, and she gives him the strength to fight back against his aggressors. Oskar becomes increasingly aware of the tragic, inhuman dimension of Eli’s plight, but cannot bring himself to forsake her. Frozen forever in a twelve-year-old’s body, with all the burgeoning feelings and confused emotions of a young adolescent, Eli knows that she can only continue to live if she keeps on moving. But when Oskar faces his darkest hour, Eli returns to defend him the only way she can… Swedish filmmaker Tomas Alfredson weaves friendship, rejection and loyalty into a disturbing and darkly atmospheric, yet poetic and unexpectedly tender tableau of adolescence. LET THE RIGHT ONE IN is based on the best-selling novel by John Ajvide Lindqvist. (Source)

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François and his fellow teachers prepare for a new year at a high school in a tough neighborhood. Armed with the best intentions, they brace themselves to not let discouragement stop them from trying to give the best education to their students. Cultures and attitudes often clash in the classroom, a microcosm of contemporary France. As amusing and inspiring as the teenaged students can be, their difficult behavior can still jeapordize any teacher’s enthusiasm for the low-paying job. François insists on an atmosphere of respect and diligence. Neither stuffy nor severe, his extravagant frankness often takes the students by surprise. But his classroom ethics are put to the test when his students begin to challenge his methods… (Source)

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Follows a family who becomes increasingly contentious and dysfunctional until an ill relative brings them together over the holidays. (Source)

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